diff --git "a/scripts/Groundhog Day.txt" "b/scripts/Groundhog Day.txt" new file mode 100644--- /dev/null +++ "b/scripts/Groundhog Day.txt" @@ -0,0 +1,7529 @@ + + + + GROUNDHOG DAY + + + + Written by + + Danny Rubin + + + + + + + + + Second Revision by + Harold Ramis + January 7, 1992 + + + + FADE IN + + HIBERNATING GROUNDHOGS + A family of groundhogs is nestled together in their burrow + sleeping off the end of a long winter. + + ROLL CREDITS AND THEME MUSIC + + DISSOLVE TO: + + + + EXT. A FOREST CLEARING - EARLY MORNING + + The crust of an old snowfall still covers the frozen ground, + and the bare, icy branches of the trees glisten dully in the + early morning light. + + CUT TO: + + + + INT. TV STUDIO - SAME TIME + + PHIL CONNORS is standing in front of a blank green wall + gesticulating animatedly at some invisible images on the wall, + talking a mile a minute (MOS) . He looks completely crazy as he + points at nothing and winks to an unseen audience. + + CUT TO: + + + + EXT. WESTERN PENNSYLVANIA - SAME TIME + + CREDITS CONTINUE as we streak across the winter landscape, + flying over fields and farms, small towns and hamlets, railroad + lines and interstates, coalyards and factories, until we cross + the Allegheny River and follow it to the southwest. + + CUT TO: + + + + INT. TV STUDIO - SAME TIME + + Phil continues pointing out features on the blank wall , but + from a new angle we can see that he ' s looking at a monitor out + of the corner of his eye which shows the chromakey insert he's + pointing to -- a national weather map. + + CUT TO: + + + + EXT. NEAR PITTSBURGH - SAME TIME + + The country towns turn to suburbs, traffic on the roads gets + heavier and finally we see the skyline of Pittsburgh and the + confluence of the Allegheny with the Monongahela and the Ohio. + + + + -2- + + + We zoom into a tall building in the downtown area and + + DISSOLVE TO: + + + + INT. PHIL CONNORS' OFFICE - MORNING + + We don't see anyone at first but the office itself speaks + volumes about it's inhabitant-- team pictures of the Steelers + from the Franco Harris-Terry Bradshaw glory years, a framed + memorial portrait of Roberto Clemente, a local Emmy award + statue, an erasable weather map and mountains of personal junk + on the desk, ^windowsill, and every other available surface. + As the CREDITS END, we notice a sleeping figure on the small + sofa, buried deep under a pile of coats and a stolen airline + blanket. + GIL HAWLEY, Executive Producer of the Action News, sticks his + head in the door. + + HAWLEY + Christ, what a pit. Phil" + The sleeping figure rouses himself and looks out at Hawley. + It's Phil, the .Channel 9 Action News weatherman. + + PHIL + + (SLEEPY) + What? + + HAWLEY + It's February first, Phil. You + know what tomorrow is? + Phil sits up and.thinks hard. He's in his mid-thirties, smart, + rugged-looking, perhaps a little too full of himself, but + clearly a guy with a lot of personality. + + PHIL + (catching on) + Oh, no! Not again. + He jumps up and exits the office with Hawley right behind him. + + PHIL + Forget it! I'm not going. + + + + INT. CORRIDOR - CONTINUOUS + + Hawley pursues Phil through the office suite of the Channel 9 + Action News, from the look of it a typical, big city, local + news operation. A logo on the wall identifies the station as + WPGH - Pittsburgh. + Phil ducks into the studio. + + + + -3- + + + + + + INT. STUDIO - CONTINUOUS + + Hawley follows him in and catches up with him at the weather + corner of the Action News set. Phil starts putting weather + stats up on a chart. + + PHIL + Get away from me. I'm working. + + HAWLEY + So what's the outlook? We gonna + get that blizzard? + Phil shakes his head and points to the chart which is headed + "Phil's Phorecast" with a cute caricature of himself drawn next + to the title. + + PHIL + No way. All that moisture coming + up from the Gulf is going to miss + us completely and take a dump on + Harrisburg. + + HAWLEY + (with authority) + Good, 'cause you're going up to + Punxsutawney to cover the + groundhog story tomorrow morning + and I want you back here in time + to do the five. + + PHIL + Jesus, Gil, give me a break, will + you! I covered the goddamn + groundhog last year and the year + before that. + + HAWLEY + And you'll do it :next year and + the year after, too. When I + worked in San Diego, I covered + the swallows coming back to + Capistrano for ten years in a + row. + + PHIL + You should've killed the guy who + made you do that. + + HAWLEY + I wanted to do it. + + PHIL + Then you should've killed + yourself. I don't want to get + stuck with the groundhog for the + rest of my life. + + + + -4- + + + + HAWLEY + It's a cute story. He comes out, + he looks around, he wrinkles up + his little nose, he sniffs around + a little, he sees his shadow, he + d oesn't see his shadow-- it's + nice. People like it. + + PHIL + Many people are morons. + + HAWLEY + Just do it. + + PHIL + What'11 you give me? + Hawley looks across the studio and sees RITA HANSON enter, a + very attractive segment producer in her late twenties. + + HAWLEY + (to Phil) + I'll give you Rita. + (calls her over) + Rita, could you come here for a + second? I got a little job for + you. + Rita is relatively new to the station, but very competent, + personable, humorous, self-assured and very pretty-- in short, + a genuine princess, though Phil is too self-absorbed at this + point to realize it. + + PHIL + + (TEASING) + You can't send Rita out on a + story like this. She's just a + cub, a pup, still wet behind the + ears. Look at her. Her ears are + sopping wet. This needs a + Woodward or a Bernstein. It's a + big story. People need to know. + + RITA + + (INTRIGUED) + What's the story? + + HAWLEY + The Punxsutawney Groundhog + Festival. + + RITA + Gil, if it's all right with you + I ' d rather follow-up on the + nurses' strike. + + + + -5- + + + + HAWLEY + You can do the nurses when you + get back. Just take the squeaky + wheel here up to Punxsutawney and + get him back in one piece. Okay? + + RITA + Yeah, okay. + Hawley exits leaving Phil and Rita alone in the studio. She + knows Phil mainly by his reputation and it isn't good. Still, + she finds him appealing in an odd way. + + PHIL + + (PLEASANTLY) + You know, this could be extremely + interesting. + + RITA + I've never done a weather story + before. What's Punxsutawney + like? + + PHIL + Oh, it's an enchanted place. A + magical world. It's the + Constantinople of the whole + Western Appalachian-Susquehanna + Drainage system. + + RITA + Do you always joke? + + PHIL + About 70 to 80% of the time. + Inside I'm actually a very shy + and sensitive person. + + RITA + A lot of people around here think + you're not very sincere. + + PHIL + Tell me the names of these + people. + + RITA + I'll line up a crew and + transportation. If you don't + feel like driving, we can all go + up in the van together. + + PHIL + I think I'll take my own car. + I ' m not that fond of my fellow + man. + + + + -6- + + + + + + RITA + + (EXITING) + Nice attitude. + + PHIL + Nice face. + (calls after her) + Why don't you ride up with me? + + RITA + No, thanks. + STEPHANIE DECASTRO , an attractive, dark-eyed, dark-haired + correspondent, glares at Phil from across the studio. + + + + INT. PHIL'S OFFICE - LATER + + Phil is in his cluttered cubicle talking on a headset phone + while he reviews cassettes of his groundhog spots from the past + two years on a small monitor. As he talks, he stuffs a number + of personal items in an overnight bag, all the time watching + himself on the TV monitor. + + PHIL + (on the phone) + They don't really think of me as + a weatherman around here. More + of a "personality," but with the + credibility of a first-class + broadcast journalist. Once you + look at my tape I think you'll + see what they mean. + Stephanie enters and stands in the doorway looking at Phil for + a long moment. There is something vaguely off-center about + this woman, not quite FATAL ATTRACTION but still a little + scary. + + STEPHANIE + + (BITTERLY) + I just want to know one thing: + did I do something wrong or are + you just tired of me or what? I + have to know. + Phil sighs. + + PHIL + (on the phone) + Dan, can I call you back? I've + just been handed something and I + better get on it... + (he picks up some + papers and rustles + them for effect) + ...Okay, thanks. + + + + -7- + + + He takes off the headset, gets up and closes the door for + privacy. + + PHIL + + (KINDLY) + You didn't do anything wrong, + Stephanie, and I ' m not tired of + you. It's just that I don't have + time for a real relationship + right now. I told you that the + first time we went out. + + STEPHANIE + (getting close) + Everybody says that at the + beginning of a relationship. + + PHIL + (gently pushing her + + AWAY) + I'm different. I really meant + it! Things are really starting + to move for me now. I ' m not + going to be doing the weather for + the rest of my life. I was just + talking to the CBS guy about a + network job. I want that. This + is just the beginning for me. I + can't waste any more time. + + STEPHANIE + Are you saying our relationship + was a waste of time? + + PHIL + Our relationship? We went out a + total of four times! And only + twice did anything happen. It + was fun but I don't see that as + a big commitment. + + STEPHANIE + (closing in again) + I had our charts done. My + astrologer says we're extremely + compatible. There may even be + some past lives involvement here. + + PHIL + See? So we've already done this. + Let's move on. Next case. + + STEPHANIE + You know what's wrong with you, + Phil? You're selfish. You don't + have time for anyone but + yourself. + + + + -8- + + + + PHIL + That's what I ' m trying to tell + you. You don't want to be with + me. You can do better. Look, + Stephanie, if I ever said or did + anything to mislead you I'm sorry + for that, but right now I have to + do this groundhog thing and I + don't have a handle on it yet. + He throws some papers and his datebook into a briefcase and + puts on his jacket. + + PHIL (CONT.) + I'll tell you what. I ' m going to + do some serious thinking while + I ' m in Punxsutawney, okay? + He pats her on the shoulder and brushes past her, leaving her + standing there with a malevolent look on her face. + + CUT TO: + + + + EXT. A HIGHWAY - AFTERNOON + + A VAN marked ".Channel 9 Action News" speeds along a two-lane + highway through the winter landscape of West Central + Pennsylvania. Mounted atop the van is a microwave transmitter. + Rita is riding up front with LARRY, the union cameraman and + techie. Phil is following close behind the van in a new Lexus + coupe. His car has a bumper-sticker that reads "Weathermen + Like it Wet." + + PHIL (V.O.) + (on his earphone) + I'm on my way to Punxsutawney... + (forced to repeat it, + a little embarrassed) + Punx^su-taw-ney....Work or fun? + I think that all depends on you. + + + + INT. THE LEXUS - CONTINUOUS + + Phil is talking to one of his girlfriends, sorting through a + stack of CD's, as usual, grabbing at the good life with both + hands. + + PHIL + . . . . I thought maybe you could + meet me up there tonight and let + me vulgarize you for about seven + hours....So I ' m supposed to spend + the night in Punxsutawney all + alo ne? Thanks. + + + Phil loads a CD and a great, driving song kicks in. + + CUT TO: + + A SIGN + "Welcome to Punxsutawney - The Original Weather Capitol of the + World Since 1887." Depicted on the sign is a large cartoon + GROUNDHOG wearing a top hat and clutching an umbrella under his + arm. + The mini-convoy passes some fast food places on the outskirts + of town. + + + + EXT. MAIN STREET - PUNXSUTAWNEY - LATER + + The van drives along , the small-town main drag. There are + cartoon groundhogs everywhere you look and the whole town has + been gaily festooned with banners and bunting. + + + + EXT . MOTEL - LATER + The van pulls into the parking lot at a Quality Inn. The + announcement billboard in ;front of the motel reads: "Groundhog + Day Breakfast Special - Feb.2 - All You Can Eat - $5.99." The + parking area is already crowded with cars including a number of + other news vans. The Lexus pulls in behind the van and + everybody gets out. + Phil takes one look at the motel and shakes his head. + + PHIL + (calls out) + Rita! I can't stay here. + Rita is already helping Larry unload equipment from the van. + + LARRY + + (MUTTERING) + Prima donnas. + + RITA + It's okay. I'll handle it. + She crosses to the Lexus where Phil is trying to make another + call on his earphone. + + RITA + What's the problem, Phil? + + PHIL + I hate this place. I stayed here + two years ago and I was + miserable. It's like a minimum + security prison. I'm not staying + here. + + + + -10- + + + + + + RITA + You're not staying here. + + PHIL + + (BRIGHTENING) + I ' m not? + + RITA + No, Larry and I don't care but I + thought you might, so I booked + you at a very nice bed and + breakfast on Cherry Street. + Here's the address. + She hands him a card. + + PHIL + + (PLEASED) + Great. That's great. That's the + mark of a really good producer. + Making the talent happy. + + RITA + Whatever I can do. + + PHIL + Really? Will you be my love + slave? + + RITA + Whatever I can do within reason. + Would you like to have dinner + with Larry and me? + + PHIL + No thanks, I've seen Larry eat. + Why don't you ditch Larry and let + me take you someplace nice? + + RITA + You mean like a date? + + PHIL + Yeah. + + RITA + Oh, no. + + PHIL + Okay. I get it. You're a little + intimidated by me, you're all + excited about the shoot tomorrow, + you want everything to go just + perfect. I understand. You just + get some sleep. Tomorrow will be + great. + + + + -11- + + + + RITA + Well, that's something to look + forward to. I'll see you in the + morning. + He drives off, leaving her standing there shaking her head. + + LARRY + Did he actually call himself "the + talent?" + Larry snorts and continues unloading their gear. + + CUT TO: + + + + EXT. CHERRY STREET - DAWN + + The first light of morning colors the sky behind the Cherry + Street Inn, a rambling, white Victorian bed and breakfast. + + CLOSE UP - CLOCK + A digital clock-radio changes from 5:59 to 6:00 AM. The radio + comes on, playing the end of the Sonny and Cher hit, "I Got + You, Babe." + + SUPER: FEBRUARY 2 + + + + INT. PHIL'S ROOM - DAWN + + Phil sits up in bed and looks around the room. The decor is + typical bed and breakfast, flocked wallpaper, framed prints, + and an odd assortment of mismatched furniture. His suit is + hanging neatly on the back of the closet door and his suitcase + is open on a stand at the foot of the bed, still neatly packed. + A iradio, DEEJAY and his SIDEKICK come on with hyped-up, + drivetime Chappy talk." Phil stares at the radio and listens + to them. + + DEEJAY + Okay, campers, rise and shine, + and don't forget your booties + because it's COOOLD out there + + TODAY1 + Phil grimaces and swings out of bed. + + SIDEK ICK + It's cold out there everyday. + W hat is this-- Miami Beach? + The deejay laughs. Phil shakes his head at the cheesy repartee + as he crosses to the sink and starts brushing his teeth. + + + + -12- + + + + DEEJAY + Not hardly. And you can expect + hazardous travel later today with + that, you know, blizzard thing-- + + SIDEKICK + That "blizzard thing?" + Phil splashes some water on his face and prepares to shave. + + SIDEKICK (CONT.) + Oh, here's the report: the + National Weather Service is + calling for a big blizzard thing. + + DEEJAY + Yes they are, but there's another + reason today is very special-- + + SIDEKICK + Es pec ia lly cold-- + + DEEJAY + Especially cold, okay, but the + big question on everybody's lips-- + + SIDEKICK + Ch ap pe d lips-- + + DEEJAY + :--on their chapped lips, right-- + Do you think Phil's going to come + out and see his shadow? + + SIDEKICK + Punxsutawney Phil. + Phil looks up at himself in the mirror, admiring his own face. + + DEEJAY + That's right, rodent lovers! + + IT'S-- + + BOTH DEEJAYS + Groundhog Day1 + SOUND EFFECT of GRUNTING GROUNDHOGS. + Phil grunts at his reflection in the mirror. + + PHIL + (to himself) + Never again. + + CUT TO: + + + + -13- + + + + INT. CORRIDOR - DAWN + + Phil heads for the breakfast room of the inn, now well-dressed + in a suit and tie, a nice overcoat slung over his arm. A + CHUBBY MAN passes. + + CHUBBY MAN + Morning . + + PHIL + Morning . + + CHUBBY MAN + Think it'll be an early Spring? + + PHIL + I ' m predicting March 21st. + + CUT TO: + + + + INT. BREAKFAST ROOM - CONTINUOUS + + Phil enters the old library of the house now set up with a + breakfast buffet. An old spinet piano stands in the corner. + One wall is lined with .bookcases filled with books. A handful + of guests are seated around the room, eating. + The matron of the house, MRS. LANCASTER, spots Phil as she + comes out of the kitchen with a fresh pot of coffee. + + MRS. LANCASTER + Did you sleep well, Mr. Connors? + + PHIL + (with mock civility) + Like a Roumanian orphan, Mrs. + Lancaster. + + MRS. LANCASTER + Would you like some coffee? + + PHIL + I don't suppose it1 d be possible + to get an espresso or a capuccino + around here. + + MRS. LANCASTER + + (BLANKLY) + I don't really know -- + + PHIL + Forget it. This '11 be fine. + + + + -14- + + + + MRS. LANCASTER + ( as she pours) + I wonder what the weather's going + to be like for all the + festivities. + + PHIL + My guess is it'11 be cold and + overcast, high today in the low + 30's, dropping to the low 20's + tonight, but I'm predicting that + all that moisture coming up from + the Gulf is going to miss us and + dump some locally heavy snow, + possibly blizzard conditions with + travel advisories in the + Harrisburg area and maybe as far + east as .Philadelphia. + (off her surprised + + LOOK) + You want to talk weather, you + asked the right guy. + He heads for the door. + + ;MRS. LANCASTER � + + : + Oh, will you be checking out + today, Mr. Connors? + + PHIL + Unfortunately yes. + Phil exits. + + CUT TO: + + + + EXT. BOARDING HOUSE - MOMENTS LATER + + Sipping at the steaming coffee, Phil manages to put on his coat + and gloves as he descends the front steps of the house and + joins the flow of pedestrian traffic on the street. + + + + EXT. MAIN STREET -KPUNXSUTAWNEY - CONTINUOUS + + There are a lot of people on the street for this hour. Traffic + is so heavy in fact, the pedestrians are moving faster than the + cars. Everyone seems to be going in the same direction, making + the annual trek to see the groundhog. + An OLD BUM is sitting on the sidewalk leaning against a + storefront. Someone throws him a coin. Phil walks by without + taking any notice. + + MAN (O.C.) + Hey, Phil! + + + + -15- + + + + + A big pie-faced man, NED RYERSON, comes huffing and puffing + right up to him. There is something about this guy that makes + us dislike him on sight. + + NED + Phil! Phil Connors! I thought + that was you! + Phil looks at him vaguely. + + PHIL + (at a loss) + I 'm sorry. Have we-- uh-- + + NED + My oh my! Phil Connors. Don't + say you don't remember me, 'cause + I sure as heckrfire remember you. + Well? + Phil stares, trying to remember. + + NED + Ned Ryerson? Needlenose Ned? + Ned the Head. Come on, buddy. + Case Western High? + + PHIL + Ned? + + NED + I see you clicking through that + brain of yours. Click-click, + c li ck- cli ck, click-click--Bing! + Ned Ryerson, did the whistling + trick with my belly button in the + talent show. Bing! Ned Ryerson, + got the shingles real bad senior + ^year^ almost didn't graduate. + Bing again! Ned Ryerson, went + out with your sister Mary Pat a + couple of times-- 'til you told + me not to anymore. Well? + + + + PHIL + + (RESIGNED) + Ned Ryerson. + + NED + Bing! + + PHIL + So what're you doing with + yourself, Ned? + + NED + Phil, I sell insurance. + + + + -16- + + + + PHIL + (sorry he asked) + No kidding. + + NED + Do you have life insurance, Phil? + 'Cause if you do, I bet you could + u s e more-- who couldn't?--but I + got a feeling you don't have any. + Am I right? + + PHIL + You know, Ned, I ' d love to talk + to you but I really have to-- + Phil starts to walk away,,but Ned won't take the hint. + + NED + That's okay. I'll walk with you. + When I see an opportunity, I + charge it, like a bull. Ned the + Bull, that's me now. Some of my + friends live and die by actuarial + tables, but I think it's all just + a crap shoot anyhoo. Ever heard + of single .premium life? That + could be the ticket for you, + buddy. God, it's good to see + you! Hey, what're you doing for + dinner? + + PHIL + Dinner? Umm, I don't think + that's going to work for me. + As they continue walking, Phil steps into what looks like a + shallow puddle and ends up ankle deep in wet slush. Ned laughs + like a donkey. + + NED + Hey, look out for that first + step! It's a doozy! + Phil looks at him with murderous contempt. + + CUT TO: + + + + EXT. GOBBLER'S KNOB - DAWN + + A big crowd is standing in a park-like clearing off a + residential street. They are gathered around a large mound of + dirt enclosed by a rail fence, waiting for the big moment. For + a cold gray dawn, there is the atmosphere of a festival here. + An area close to the mound is roped off for news reporters and + cameras. Rita stands there, a pocket of genuine beauty in this + sea of potbellied old union guys and blow-dried reporters. + + + + -17- + + + + + Stomping her feet against the cold, Rita looks at her watch and + glances around. Larry, the cameraman, just looks bored. + + RITA + How could he be late? + + LARRY + Prima donnas. + + RITA + It's just so-- inconsiderate. + + LARRY + What happens to some people? + They're born nice. They grow up + nice. You put 'em on TV and - + bam! Prima donnas. + Rita spots Phil heading into the crowd. + + RITA + Here he comes. Phil! Hey, Phil. + Over here! + Phil joins them in the press area. Rita pulls him to his mark + near the rail fence. + + RITA + Where've you been? + + PHIL + I got hung up with some jerk I + went to high school with. So, + did you sleep okay without me? + You tossed and turned, didn't + you? + Rita holds up a slate for Larry to ID the tape. + + RITA + You're incredible. + + PHIL + Who told you? + + RITA + Ready when you are. + Phil takes the microphone from Rita and positions himself + against the fence. + The Groundhog Club Officials in top hats, striped trousers and + cutaway coats parade out to the burrow that houses Punxsutawney + Phil. + + RITA + Looks like they're starting. + Roll tape. + + + + -18- + + + + LARRY + Rolling. + Rita silently counts down from five and cues Phil who instantly + snaps into announce mode. + + PHIL + (to camera) + Once a year, the eyes of the + nation turn here, to this tiny + hamlet in Pennsylvania, to watch + a master at work. The master? + Punxsutawney Phil, the world's + most famous weatherman, the + groundhog, who, as legend has it, + can predict the coming of an + early spring. + Rita turns to Larry. This is impressive-- so far, so good. + A Groundhog Club Official kneels at the burrow and + ceremoniously knocks on the small wooden door, then opens it + and retreats. + + PHIL + And here's the big moment we've + all been waiting for. Let's just + see what Mr. Groundhog has to + say. + The groundhog sticks his head out, looks around, steps out of + the hole, and runs over to the other side of the mound, about + as far away from the cameras as he can get. + + PHIL + Hey! Over here, you little + weasel! + Larry zooms in as far as he can but the best he can manage is + a close-up of the groundhog's back. The groundhog stands there + a moment, his body casting a long shadow, then he lets out a + squeak and runs back into the hole. + + PHIL + Great shot, huh, folks? Well, + that was certainly worth the + trip. Now we'll be hearing from + Mr. Buster Greene, President of + the Punxsutawney Groundhog Club, + the so-called Seer of Seers who + will interpret for us. + BUSTER GREENE, dressed up in his top hat and cutaway coat, + walks onto the mound and hushes the crowd. + + + + -19- + + + + + + B U ST E R + He came out, and he saw his + shadow. Sorry, ladies and + gentlemen, but it looks like it's + going to be a long winter. + The crowd lets out a good-natured "Awwwwww" in disappointment. + + PHIL + (sarcastic, to camera) + Well, that's it. Sorry you + couldn't be here in person to + share the electric moment. This + is one event where televison + really fails to capture the + excitement of thousands of people + gathered to watch a large + squirrel predict the weather, and + I for one am deeply grateful to + have been a part of it. + Reporting for Channel 9, this is + Phil Connors. + Larry cuts the camera. + + RITA + (to Phil) + You want to try one that's a + little sweeter? + + PHIL + (to Rita) + That's as sweet as I get. I'm + outa here. + As he exits, Phil tosses the mike to Larry, who isn't expecting + the throw and bobbles it, dropping the mike on the ground. + + LARRY + + (MUTTERS) + Prima donnas. + + CUT TO: + + + + INT . DINER - LATER + Phil is sitting alone having a cup of coffee in a busy, loud + and lively cafe. Rita enters, sees him sitting there, crosses + to his table and sits down across from him. + + RITA + That was really lousy. + + PHIL + Is it my fault the little rat + went south on us? + + + + -20- + + + + RITA + A real professional would have + handled it. You acted like it + was a personal insult. Who do + you think you are -- Wolf Blitzer? + + PHIL + God, you really take this stuff + seriously, don't you. + + RITA + Yes, I do. As far as I ' m + concerned there are no little + stories, Phil. Only little + reporters with big egos who think + they're too good for the job they + have to do. + + PHIL + (trying to look hurt) + You really don't know me very + well, do you. 'Cause if you did + you could never say something + like that about me. I care! + Call me a cockeyed optimist but + I happen to think there's more to + this job than just getting my + ugly mug on the boob tube every + night. + + RITA + Is that so. + + PHIL + Yes, that is so. + Rita is so irritated by him she can't even respond. + Phil looks at her evenly for a long moment. + + PHIL + So as far as us getting together, + would you say the glass is half + empty or half full? + Larry pokes his head in the doorway, looks around, spots Rita + and makes his way over to their table. + + LARRY + (to Rita) + You ready? We better get going + if we ' re going to stay ahead of + the weather. + + PHIL + You don't have to rush off, you + know. That storm is 'going to + miss us completely. + + + + -21- + + + + RITA + Nice working with you, Phil. See + you around. + Rita walks away, leaving him sitting alone. + + CUT TO: + + � + + + + + + EXT. HIGHWAY - DAY + + Phil's Lexus is driving down the highway. Light snow is just + starting to fall. + + PHIL(V.O) + (on the earphone) + I'll call you after I see the + network guy. I should be back + there in a couple of + hours...What?...1 can't hear you-- + you're breaking up...Hello? + Sabrina? + + + + INT. THE CAR - CONTINUOUS + + Phil is getting annoyed as the phone connection deteriorates. + The snow is getting heavier. Phil switches on the windshield + wipers. + + PHIL + Sabrina ? Can you hear me? Shit! + He slams the phone back into it's cradle, then looks up and + notices slow traffic up ahead. He honks his horn as the + traffic comes to a complete stop. He keeps honking but nothing + moves. + He rolls down the window and looks up ahead. The highway is a + parking lot. + + PHIL + No. No! + + + + EXT. THE CAR - CONTINUOUS + + Phil jumps out and begins to walk down the highway, past the + parked cars, shivering in his light sweater and silk sport + shirt. The snowfall is getting heavier and the wind is pickin + up. The snow comes down unnaturally hard and fast. He walks + on, slipping and sliding in his expensive loafers until he + j comes to a police roadblock up ahead, manned by TWO HIGHWAY + + "J PATROLMEN. + + PHIL + What's going on, Officer? + + + + -22- + + + + PATROLMAN + Nothin's goin1 on. We're closin1 + the road. Big accident up ahead. + Blizzard movin1 in. + + PHIL + What blizzard? A couple of + flakes! An isolated phenomenon + of nature. + + PATROLMAN + Are you nuts? We got a major + storm movin' in. + + PHIL + No, no. All that moisture is + going to miss us and hit + Harrisburg. + + PATROLMAN + Pal, you got that moisture on + your head. + + PHIL + But I have to get to Pittsburgh + today! + + PATROLMAN + Mister, the only place anybody's + goin' on this road is back to + Punxsutawney. + Phil glowers at him and shivers. + + CUT TO: + + + + INT. GAS STATION - LATER + + Phil is on a pay phone. Snow is falling heavily outside. + GAS STATION ATTENDANT is shovelling around the pumps. + + PHIL + So all the long distance lines + a re down? What about the + sa tellite? Is it snowing in + space?...But I have to call + Pittsburgh...Isn't there some + special line you keep open for + emergencies or for + celebrities?...Well, I'm both + really. I'm a celebrity in an + emergency. Can you patch me + through on that line? + + + + -23- + + + The door opens and Phil is blasted with frigid Arctic wind and + blowing snow. The GAS STATION ATTENDANT enters the tiny office + and in trying to squeeze past Phil accidentally bangs him on + the head with his snow shovel. + + CUT TO: + + + + INT. HOTEL BAR - EVENING + + Phil is at the bar in Punxsutawney ' s oldest and best hotel , the + Pennsylvanian. He looks very bored, drinking a beer, + unsuccessfully hustling an attractive local girl named NANCY. + + PHIL + You never saw me on TV-- on the + news? + + NANCY + I don't think so. What part of + the news do you do? + + PHIL + I ' m the White House correspondent + for NBC news. + + NANCY + Oh , I ' m so sure . + + PHIL + Ask me anything? + + NANCY + Okay, how big is the White House? + + PHIL + Three bedrooms, two and a half + baths. Looks much bigger than it + , is. + Nancy just stares at him, clearly not into his sense of humor. + Suddenly, a BRIDE in full white wedding gown and veil rushes + into the bar, crying and shouting. A gaggle of BRIDESMAIDS + flutters around her trying to coax her back to her own wedding + but she won't budge. Then the GROOM, wearing a bad rented tux, + comes storming in and tries to drag her back, until the BEST + MAN restrains him and the bridesmaids hustle the bride away. + Phil watches the whole drama play out, then turns back to + Nancy . + + PHIL + Good start. I ' m sure they'll be + very happy. So what do you say? + You want to play doggie obedience + school with me? + + + + -24- + + + + NANCY + Thanks. I'll pass. + She gets up to leave. + + PHIL + Sit! Stay! + He watches her go, then tosses a tip on the bar and exits + somewhat unsteadily. + + CUT TO: + + INSERT - A THICK BOOK + The cover reads "101 Curses, Spells and Enchantments You Can Do + at Home." A well-manicured feminine hand opens the book to a + marked page . + + + + INT. CHERRY STREET INN - NIGHT - SAME TIME + + Phil enters his room and drunkenly tosses his overcoat, scarf + and gloves on the floor in a heap. + + + + INT. STEPHANIE'S BEDROOM - NIGHT + + Stephanie Decastro, Phil ' s disaffected ex-lover, is sitting + cross-legged on the floor with the book of curses open in front + of her. Her hair is down, she's wearing a caftan with a Zodiac + print, there are candles everywhere and other vaguely occult + decorating touches. + + INSERT + Phil's business card is dropped into a dish. Then the Tarot + card of the Hanged Man, a chicken bone, and a feather are + placed on top of it . + + PHIL + He stands at the sink, looking at himself in the mirror, + flexing his muscles . + + STEPHANIE + Reading from the book> she mutters incantations in a secret + language, then she sprinkles some powder on the plate, then a + few drops of oil. Then she makes a few passes over it with her + hands and, much to her surprise, the contents of the plate + spontaneously combust. + + PHIL + + + As he crosses to the bed, he accidentally knocks over the + suitcase stand, spilling his clothes out onto the floor. + + + + -25- + + + He contemplates picking them up for a moment, decides to leave + them there, and flops down on the bed. He lies there looking + u up at the ceiling until the room starts to spin around, then + he closes his eyes and quickly drops off to sleep, still fully + clothed. + + STEPHANIE + To complete the spell, she picks up a broken wristwatch and + drops it into the fire. + + INSERT + Phil's business card, the Hanged Man and the broken watch in + flames. The watch crystal is cracked and the hands are frozen + at 5:59. + + DISSOLVE TO: + + C LOSE UP - CLOCK + The digital clock-radio changes from 5:59 to 6:00 AM. The + radio comes on, playing the end of the Sonny and Cher hit, "I + Got You, Babe," just as it did the day before. + + + + INT. PHIL'S ROOM - DAWN + + Phil sits up in bed, quickly alert, and looks around the room. + Something is wrong. He's wearing pajamas, his suit is once + again hanging neatly on the closet door and his suitcase is + back on its stand at the foot of the bed, again neatly packed. + The song ends and the same radio deejay and his sidekick come + on with the same manic energy. Phil stares at the radio and + listens to them. A look of astonishment comes over his face as + they banter. + + DEEJAY + Okay, campers, rise and shine, + and don't forget your booties + because it's COOOLD out there + today! + + SIDEKICK + It's cold out there everyday. + What is this-- Miami Beach? + The deejay laughs. Phil "mock" laughs at exactly the same + time, recognizing the repartee from the previous morning. + + PHIL + (to himself) + Nice going guys. That's + yesterday's tape. + Phil crosses to the sink and gets a towel off the rack, only + half-listening to the radio. + + + + -26- + + + + DEEJAY + Not hardly. Expect hazardous + travel later today with that, you + know, blizzard thing -- + + SIDEKICK + That "blizzard thing?" + Phil turns on the water and splashes some on his face as if + trying to wake himself up, vaguely disturbed by the repetition + of the broadcast. + + SIDEKICK (CONT.) + Oh, here's the report: the + National Weather Service is + calling for a big blizzard + thing." + + DEEJAY + Yes they are, but there's another + reason today is very special -- + + SIDEKICK + Especially cold -- + + DEEJAY + Especially cold, okay, but the + big question on everybody's lips -- + Phil supplies the next line in unison with the radio. + + SIDEKICK AND PHIL + Chapped lips -- + + DEEJAY + -- on their chapped lips, right -- + Do you think Phil's going to come + out and see his shadow? + + SIDEKICK + Punxsutawney Phil. + Some vague doubt causes Phil to go to the window. + + DEEJAY + That's right, rodent lovers! + + IT'S-- + + BOTH DEEJAYS + Groundhog Day! + SOUND EFFECT of GRUNTING GROUNDHOGS as Phil pulls back the + curtains and looks out. + + HIS POV + The street is full of people heading toward Gobbler's Knob, + exactly as they did the day before. + + + + -27- + + + + PHIL + + (AGHAST) + What the hell? + + CUT TO: + + + + INT. BED AND BREAKFAST - DAWN + + Phil rushes out into the corridor, hastily tying his tie, his + suit jacket and overcoat over his arm. As he heads for the + breakfast room, the same Chubby Man passes. + + CHUBBY MAN + Morning. + + PHIL + Morning. + + CHUBBY MAN + Think it'll be an early Spring? + + PHIL + (stops, irritated) + Didn't we do this yesterday? + + CHUBBY MAN + + (INTIMIDATED) + I don't know what you mean. + Phil grabs him by the front of his shirt and looks deep into + his eyes. + + PHIL + Don't mess with me, pork chop. + What day is this? + + CHUBBY MAN + + (TERRIFIED) + Febr uary second--Groundhog Day! + Phil can see he's telling the truth and relaxes his grip on the + poor man. + + PHIL + Okay. Sorry. I'm having a bad + day. + Phil walks on, leaving the chubby man baffled and insulted. + + CHUBBY MAN + (to himself) + I'll say. + + + + -28- + + + + INT. BREAKFAST ROOM - CONTINUOUS + + Phil enters the old library of the house and finds everything + exactly as it was the day before. Mrs. Lancaster spots Phil as + she comes out of the kitchen with the fresh pot of coffee. + + MRS. LANCASTER + Did you sleep well, Mr. Connors? + + PHIL + (completely confused) + D i d I? I don't know-- + + MRS. LANCASTER + Would you like some coffee? + + PHIL + Yes, thank you. I ' m feeling a + little strange. + + MRS. LANCASTER + ( as she pours) + I wonder what the weather's going + to be like for all the + festivities. + + PHIL + Did you ever have deja vu, Mrs. + Lancaster? + + MRS. LANCASTER + Is that the Italian dessert with + the brandy and the chocolate + mousse? + + PHIL + No, that's spaghetti. Never + mind. + He heads for the door, still in a daze. + + MRS. LANCASTER + Oh, will you be checking out + today, Mr. Connors? + + PHIL + + (VAGUELY) + I don't know. I don't think so. + I'll tell you after I wake up. + Phil exits. + + CUT TO: + + + + -29- + + + + EXT. BOARDING HOUSE - MOMENTS LATER + + Phil gulps down the steaming coffee, still trying to wake up + from what he assumes is a dream, and descends the front steps + of the house. He accosts a PASSERBY. + + PHIL + Ma'am? Excuse me. Where's + everybody going? + + PASSERBY + To Gobbler's Knob. It's + Groundhog Day! + The coffee cup drops from Phil's hand as he stands there open- + mouthed. Then he slaps his own face and shakes his head as if + trying to clear it and starts off down the street. + + + + EXT. MAIN STREET - PUNXSUTAWNEY - CONTINUOUS + + Phil rushes down the street, again failing to notice the OLD + BUM sitting on the sidewalk leaning against a storefront. + + NED RYERSON (O.C.) + Hey, Phil! + Ned Ryerson approaches with the same obnoxious attitude. + + NED + Phil! Phil Connors! I thought + that was you! + Phil just stares at him and keeps walking. + + NED + My oh my! Phil Connors. Don't + say you don't remember me, 'cause + I sure as heck-fire remember you. + Well? + + PHIL + Ned Ryerson? + + NED + Bing! First shot right out of + the box. So how's it going, ol' + buddy? + + PHIL + To tell you the truth, Neddy, I ' m + not feeling real well. Could you + excuse me? + + NED + Now it's funny you should mention + your health 'cause you'll never + guess what I do. + + + + -30- + + + + PHIL + (very distressed and + desperate to get away + from this guy) + Do you sell insurance, Ned? + + NED + Bing again! You're sharp as a + tack today. Do you have life + insurance, Phil? 'Cause if you + do, I bet you could use more -- + who couldn't?" -- but I got a + feeling you don't have any. Am + I right? + + PHIL + (really annoyed now) + Did I say "fuck off, " Ned? I + can't talk to you right now. + He backs away from Ned and steps right into the same deep, + slushy puddle he stepped in the day before. + + NED + + (BRAYING) + Hey, look .out for that first v + step. It's a doozyi + Phil looks down at his wet shoes and cuffs and stumbles off + toward Gobbler's Knob. + + CUT TO: + + + + EXT . GOBBLER ' S KNOB - DAWN + The crowd is gathered as before for the big moment. + In the press area, Rita is having the same dialogue with Larry, + when she spots Phil heading into the crowd. + + RITA + Here he comes. Phill Hey, Phil! + Over here! + Phil waves to her and heads straight for an obscure corner of + the Knob, gesturing for her to follow. + Larry shakes his head as Rita charges through the crowd toward + Phil. She catches up to him just as he is scratching a mark in + the snow with his foot. She notices immediately that he is + uncharacteristically dishevelled, his tie askew, his hair + mussed. + + RITA + Where ' ve you been? + + + + -31- + + + + PHIL + (nervous, sweat ing) + I've got to talk to you. I think + I'm losing my mind. + + . RITA + I know you're losing it. What + are you doing over here? The + camera's over there. + + PHIL + Slap me, Rita. + + RITA + What is this? + + PHIL + + (INSISTENT) + Just slap me-- hard. + She gives up and taps him lightly on the cheek. + + PHIL + I said hardl + + . . .. ... .RITA . + I can't! + + PHIL + Do it! + Rita shrugs and slaps him very hard. + + PHIL + (his cheek smarting) + Better. Almost too hard, Rita. + + RITA + Are you drunk? + + PHIL + No, drunk is more fun. Can I be + serious with you for a minute? + + RITA + I don't know. Can you? + + PHIL + Yes. I ' m being serious. I' m + having a problem-- no, I may be + having a problem. + + RITA + What are you trying to say? + + + + -32- + + + + PHIL + I'm trying to say that if I was + having a problem, just + hypothetical ly, I ' d like to know + that you're someone I could count + on in a crisis. + + RITA + + (WORRIED) + What did you do last night? + The crowd begins to hush. + + LARRY + We better get started. We're + going to miss it. + + PHIL + Were not going to miss it. + (indicating the other + + REPORTERS) + They're going to miss it. + + RITA + + (EMPHATIC) + Phil. We've been out here for an + hour. We're cold and tired. + Let's just get this and get out + of here. + + PHIL + Okay, put it here. + + RITA + What? + + PHIL + Put the camera here . + Rita takes a forlorn glance towards the press area, where all + of the other cameras are set up . + + RITA + Phil , there is no tomorrow on + this one. It's Groundhog Day. + + PHIL + We were in the wrong spot + yesterday . + + RITA + + (IRKED) + W ha t? Yesterday? What are you + talking about? + + PHIL + Just trust me. Put the camera + here . + + + + -33- + + + + + Rita looks at him like he's crazy, then looks at her watch and + gives up. + + RITA + Larry! + She charges off toward the cameras. + In the Press Area, several reporters are already talking to + their cameras, dribbling on about how "He could appear any + second now." Rita and Larry grab their gear and rush back to + Phil. + Larry hurriedly sets up the camera. + + LARRY + You want me to roll tape? + + RITA + (to Phil) + Are you going to get on your + mark? + + PHIL + No hurry. + Larry glances over at the other news reporters, all talking to + their cameras and pointing towards the mound. + + LARRY + + (DESPERATELY) + Everyone else is rolling! + Rita looks helplessly at Phil. + + RITA + I'm begging you, all right? + Gould we please just do this? + Phil glances down at his watch. + + PHIL + Okay, let's do it. + He crosses over to Larry and taps him on the shoulder. + + PHIL + Roll tape. + + LARRY + + (MUMBLING) + Prima donnas. + Phil takes the microphone from Rita and positions himself + against the fence. + + LARRY + Rolling. + + + + -34- + + + Phil does a similar intro to the one he did before, though this + time it's a bit tentative. + + PHIL + (to camera) + We ll, it's Groundhog Day-- again-- + and you know what that means. + Everybody's here on Gobbler's + Knob waiting in the cold for the + appearance of the most famous + groundhog in the world, + Punxsutawney Phil, who's going to + tell us just how much more of + this we can expect. + The Groundhog Club Official knocks on the groundhog's door, + then opens it and retreats. + Phil takes a deep breath and makes his first experimental + prediction, recalling the previous day. + + PHIL + My forecast is we're going to see + the groundhog peek its head out + of its hole, look around a little + bit, then he's going to come out, + scamper over to this general + area, look at the crowd for a + second, make a little burping + noise and run back into the + ground. + + RITA + (whispers to Larry) + That's it. I'm going to kill + him. + Phil looks at his watch. + + PHIL + O k ay ? And here we go-- + Phil points to the hole and Larry zooms in. + The groundhog sticks his head out, looks left, looks right, + steps out of the hole, and runs away from the press pool, + directly over to Larry's camera. As he stands there, his body + casts a long shadow. The groundhog looks right into the + camera, lets out a squeak, and runs back into the hole. + Rita and Larry are completely amazed as the crowd cheers the + brief appearance of the groundhog. Larry pans back to Phil. + Phil just stands there speechless, staring at the groundhog + burrow. + + + + -35- + + + + RITA + + (HISSES) + Phil! + Buster Greene, the Groundhog club official, walks onto the + mound and hushes the crowd, exactly as before. + + BUSTER + He came out, and he saw his + shadow. Sorry, ladies and + gentlemen, but it looks like it's + going to be a long winter. + Again the crowd lets out a good-natured "Awwwwww" in + disappointment. + Larry pans back to Phil just in time to see him walking away in + a fog, without signing off. Then he pans back to Rita. + + RITA + (at a loss) + For Channel 9 News, this is Rita + Hanson in Punxsutawney. + She holds for a moment then makes the cut sign, drawing her + finger across her throat. + + CUT TO: + + + + - LATER + + INT; PHIL'S ROOM + Phil is on the phone desperately trying to make a call. + + PHIL + (on the phone) + I know there's a blizzard, but I + have to get a call through to my + doctor in Pittsburgh. It's a + medical emergency. . . .No, don't + give me the Punxsutawney Fire + Department. When do you think + the long distance lines will be + working again?. . . But what if we + don't have a tomorrow? We didn't + have one today, my friend... + Hello...Hello? + He hangs up and shakes his head which is now really starting to + ache, then he pops a handful of Tylenol, lies down and pulls + the covers up over his head. A moment later, he sits up, takes + a pencil from the nightstand, breaks it in half and puts the + pieces back on the nightstand. Then he lies back down and + retreats back under the covers. + + CUT TO: + + + + -36- + + CLOSE UP - CLOCK + The digital clock-radio changes from 5:59 to 6:00 AM. The + radio comes on, playing the end of the Sonny and Cher hit, "I + Got You, Babe," just as it did the day before. + + + + INT. PHIL'S ROOM - DAWN + + Phil sits up in bed fearing the worst and looks on the + nightstand. The pencil is whole again. Completely stunned by + the phenomenon, he jumps out of bed and starts dressing + hurriedly as the morning Deejays begin their now familiar rap. + + DEEJAY + Okay, campers, rise and shine, + and don't forget your booties + because it's COOOLD out there + today! + + SIDEKICK + It's cold out there everyday. + What is this-- Miami Beach? + Phil rushes out of the room. + + CUT TO: + + + + EXT. CHERRY STREET - LATER + + Phil hurries toward the bed and breakfast carrying two gallon + buckets of paint, and a couple of big bags from a hardware + store. + + + + INT. BED AND BREAKFAST - CONTINUOUS + + Phil enters and passes Mrs. Lancaster in the breakfast room. + + MRS. LANCASTER + Painting something, Mr. Connors? + + PHIL + I ' m conducting an experiment. + + + + INT. PHIL'S ROOM - LATER + + Phil enters and dumps the bags on the bed. Out fall a couple + of big paintbrushes, a small sledgehammer, a handsaw, a + crowbar, plastic goggles and assorted other tools. He puts on + the goggles, grabs a hammer and some nails and starts nailing + the door shut. + + CUT TO: + + + + -37- + + + + EXT. CORRIDOR - LATER + + Mrs. Lancaster and several other guests are gathered in the + hall outside Phil's room, listening at the door and looking + very worried. Loud music is playing inside the room. + From inside the room, they hear the sound of loud hammering, + wood splintering and glass breaking. + + + + INT. PHIL'S ROOM - CONTINUOUS + + Phil, has demolished just about all the furniture and woodwork + in the room. He rips off the last of the wooden moldings with + the crowbar, then crosses to the mirror over the demolished + sink. + Phil stands there, staring at his image in the mirror, trying + to figure out what's happening to him. He starts breathing + heavier, as if gathering courage, then, just when we think he's + going to cut off his ear or something, he raises an electric + barber clipper and shaves a bald stripe up the middle of his + head. He studies his new look for a moment then smashes the + mirror with his sledgehammer. + Then he opens the cans of paint, dips the two big brushes into + the cans and starts slapping bright red paint onto the walls, + madly, feverishly, splashing himself and everything else in the + room with it. + As a final touch he grabs the bed pillows and rips them open, + then shakes them all around the room creating a storm of + feathers. + Finally, Phil falls exhausted on the bed. From outside we can + hear outraged hotel employees pounding on the door. + We pan over to the clock radio, the only undamaged object in + the room. Feathers drift down past the face of the clock which + reads 5:59 AM. The time changes to 6:00, the radio clicks on + and "I Got You, Babe" starts playing as we pan back to Phil + sleeping on the bed. + He opens his eyes, jumps out of bed and looks around. No + paint, no feathers, no damage. Everything is as clean and tidy + as the day he checked in. + He races over to the unbroken mirror and looks at himself. His + hair is completely restored, as if it had never been shaved. + The song ends and the deejays come on. Phil says every word + right along with them, shocked into a state of complete + wonderment. + + + + -38- + + + + PHIL AND DEEJAY + Okay, campers, rise and shine, + and don't forget your booties + because it's COOOLD out there + today. + + PHIL AND SIDEKICK + It's cold out there everyday. + What is this -- Miami Beach? + The deejay laughs. Phil laughs insanely along with him. + + CUT TO: + + + + EXT . GOBBLER ' S KNOB - EARLY MORNING + Phil is wrapping up another groundhog report, trying to be + completely professional despite the circumstances. + + PHIL + (with forced good + + HUMOR) + . . . S o according to Mr. Groundhog + I guess we can expect six more + weeks of winter. It's not very + scientific, but it sure is fun. + Hey, wait a second. If he's + right, I could be out of a job! + (mock laugh) + For Channel 9 News, this is Phil + Connors in Punxsutawney . + He holds until Larry stops tape, then approaches Rita. + + PHIL + How was that? + + RITA + + (PLEASED) + It was good. A little smarmy for + my taste, but I guess that's what + sells. + + PHIL + Could I talk to you about a + matter that is not work related? + + RITA + You never talk about work. + + PHIL + Do you know what I did last + night? + + RITA + Do I want to know? + + + + -39- + + + + PHIL + I destroyed my hotel room. + + RITA + You whatl This is not some kind + of rock and roll tour. We don't + have the budget for that-- + + PHIL + No, it's okay. This morning it + was all right again. That's what + I have to talk to you about. + + RITA + Phil, what are you doing? + + CUT TO: + + + + EXT. MAIN STREET - A BIT LATER + + Phil and Rita cross the street and walk past a crowd of + concerned citizens gathered around what looks like a car + accident. As an ambulance arrives, Phil and Rita enter the + cozy looking diner on the corner. + + + + INT. DINER.- CONTINUOUS + + Phil and Rita sit together at the same table they had + previously. The WAITER approaches. + + RITA + (to waiter) + Could I have some coffee, please? + The waiter pours her a cup. + + WAITER + + (EXITING) + I'll be back to take your order. + + RITA + Thanks. + (to Phil) + Okay, so tell me. How'd you know + where to put the camera? + + PHIL + Because I've done it before. + + RITA + I know, but the groundhog doesn't + do exactly the same thing every + year, does he? + + + + -40- + + + + PHIL + I ' m not talking about last year. + I ' m talking about today. I lived + it before. + + RITA + You're having deja vu? + + PHIL + Big time. Rita, I know it's nuts + but I keep reliving the same day + o ve r and over-- Groundhog Day-- + today. This is the third time. + + RITA + (completely skeptical) + Uh-huh. I'm waiting for the + punchline. + + PHIL + No, really. It's like today + never happened. I shaved my head + last night, today its all grown + back. I could probably cut off + my limbs, one by one, and - pop! + They'd grow back. Just like a + starfish. I probably don't even + have to floss? + + RITA + I'm wracking my brain, but I + can't even begin to imagine why + you'd make up something like + this. + + PHIL + 'Cause I'm not making it up. I'm + asking for your help. + Rita looks at him for a long moment. + + RITA + Okay, I'll bite. What do you + want me to do? + + PHIL + The truth? I'd 1ike you to spend + the next 24 hours with me and + don't leave my side for a second. + + RITA + I see. You know, Phil, you can + charm all the little P.A.'s at + the station, all the secretaries, + and even some of the weekend + a nchors, but not me-- not in a + thousand years. + + + + -41- + + + + PHIL + Wa it a second-- + + RITA + Not if I was dying and your + breath was the only cure; not if + having your child was the only + way to preserve the human race. + Just get it out of your head + because it is NOT GOING TO + + HAPPEN! + + PHIL + So much for the truth. + Larry pokes his head in the doorway, looks around, spots Rita + and makes his way over to their table. + + LARRY + (to Rita) + You ready? We better get going + if we're going to stay ahead of + the weather. + + RITA + Yeah, , I ' m . ready, Larry. + + (EXITING) + Good luck, Phil. + + CUT TO: + + INSERT + X-rays of Phil's skull are slapped up onto a light box. + + + + INT. MEDICAL CLINIC - DAY + + Phil is having his head examined by a NEUROLOGIST. + + NEUROLOGIST + No spots, no tumors, no lesions, + no clots, no aneurisms. + Everything looks fine and dandy + to me, Mr. Connors. Have you + considered psychiatric help? + + CUT TO: + + + + INT. PSYCHOLOGIST'S OFFICE - DAY + + Punxsutawney's only PSYCHOLOGIST is a marriage and family + counselor at the local Lutheran church. His appearance and + manner indicate he may have some serious problems of his own. + + + + -42- + + + + PSYCHOLOGIST + (not too confident) + That's kind of an unusual + problem, Mr. Connors. Most of my + work is with couples and + families. + Phil is lying on a couch. His head is completely shaved. + + PHIL + Yeah, but you're still a + psychologist. You must have had + some course in school that + covered this kind of thing. + + PSYCHOLOGIST + Sort of, I guess. Abnormal + Psychology. + + PHIL + So based on that what would you + say? + + PSYCHOLOGIST + + (HESITANT) + I ' d say that maybe you're -- I + don't know -- a little delusional. + + PHIL + You're saying this thing is not + really happening to me? + + PSYCHOLOGIST + Uh-huh. + + PHIL + Then how do I know this + conversation is really happening? + + PSYCHOLOGIST + I guess you don't. + + PHIL + Then forget about me paying you. + A discreet little alarm sounds. + + PSYCHOLOGIST + + (RELIEVED) + I'm afraid that's all the time we + have, Mr. Connors. + + PHIL + Wait! Are you saying I'm crazy? + + + + -43- + + + + PSYCHOLOGIST + (humoring him) + Not necessarily. If it concerns + you we should schedule our next + session as soon as possible. + How's tomorrow for you? + Phil glowers at him. + + CUT TO: + + INSERT - A MODEL OF THE SOLAR SYSTEM + A SCIENTIST in a white lab coat is holding up the model. Phil + looks on with interest. + + SCIENTIST + + (AUTHORITATIVELY) + Now if the moon exerts a + gravitational pull strong enough + to cause the tides, .then it may + be theoretically possible for a + Black Hole or a Singularity of + sufficient magnitude to actually + bend time enough to cause it to + fold back ,on itself. + + PHIL + You think that's a realistic + possibility? + A paper airplane sails past his head, accompanied by a noisy + outburst of juvenile laughter. We pull back to REVEAL: + + + + INT. CLASSROOM - DAY + + Twenty-five eighth-graders running amok. + + SCIENTIST + + (STERNLY) + All right! I think someone may + just need a little visit to the + Assistant Principal's office! + Get back in your seats. The bell + has not rung yet. + The kids sit back down, but keep up their noisy chatter. + + SCIENTIST + (to Phil) + Well, I ' m speaking purely + hypothetically. + + CUT TO: + + + + -44- + + + + INT. SCHOOL CORRIDOR - LATER + + Phil is walking toward the exit when he passes a first grade + classroom. The door is open and the TEACHER is discussing a + story with the class. + + TEACH ER + So the princess picked up the + frog and kissed him. + Phil stops outside the door to listen. + + + + INT. CLASSROOM - CONTINUOUS + + + TEACHER + Now who can tell me what happened + when the princess kissed the + frog. + + LITTLE BOY + Her lips got slimed! + The whole class erupts in giggles and shrieks. + + T EACHER + Okay, come on now. What happened + when she kissed the frog? + + LITTLE GIRL + The princess kissed the frog and + the spell got broke and he turned + into a handsome prince and they + got married and lived happily + ever after. + + TEACHER + That's right. + + + + INT. THE CORRIDOR - SAME TIME + + Phil is leaning against the wall listening. There is something + very arresting about the fairy tale, but finally he just shakes + his head and exits. + + CUT TO: + + + + INT. DEW DROP INN - LATER THAT NIGHT + + Phil is at a bar getting drunk with two local blue-collar + workers, GUS and PHIL. + + PHIL + Gus, what would you do if there + was no tomorrow? + + + + -45- + + + + GUS + You mean like if the world was + gonna end? + + PHIL + No, I mean like if it was never + going to end. If everyday was + the same and you were stuck here + and you couldn't get out and + nothing you did mattered? + + GUS + You're right. Everyday is the + same, I can't get out of here and + nothin' I do matters. + + V RALPH + No, he's askin1 you a question, + ya idiot. + + GUS + What was the question? + + RALPH + What if nothing mattered?! Jeez, + I know what I'd do. I ' d j ust + spend all my time drivin' fast, + gettin1 loaded and gettin' laid. + That's it. + + PHIL + That's it. It just doesn't get + any better than this, does it? + Good friends, good conversation + and quality brew. Drink up, + boys. + They salute each other and drink. + + CUT TO: + + + + EXT. THE STREET - LATER + + Phil, Gus and Ralph approach Ralph's big, black, old Buick + convertible parked outside the bar. They are even drunker than + they were before. + + RALPH + (fumbling with his + + CARKEYS) + Where you stayin', Phil? We'll + drop you off. + + PHIL + Hey, friends don't let friends + drive drunk. Give me your keys. + + + + -46- + + + He's as wasted as they are, but Ralph hands over his keys + without a fight. + + RALPH + Thanks , man . + + PHIL + It's nothing. Get in. + They all pile into the front seat with Phil at the wheel. + + PHIL + (starting the ear) + Seatbelts. + Ralph and Gus give him the thumbs up sign and start digging + around in the seat cracks for their seatbelts. Suddenly, Phil + floors the accelerator and peels away, sideswiping a parked car + as he screeches around the corner. + + + + INT. THE BUICK - CONTINUOUS + + Phil is having a great time. Gus and Ralph are whooping it up + like kids on a roller coaster. + + PHIL + This is great, Ralph! + + RALPH + Oh, hey, take a left! + Phil passes the intersection. + + RALPH + You missed it! + + PHIL + No problem -- + + + + EXT . MAIN STREET - CONTINUOUS + Phil throws the car into a high-speed, skidding U-turn, goes up + on the curb, across a couple of lawns, takes out a mailbox and + a STOP sign and bounces back onto the street. + A POLICE CAR parked in front of the hardware store pulls out + and takes off after him. + + + + INT. THE BUICK - CONTINUOUS + + Phil swerves in and out of oncoming traffic. Gus is starting + to look a little green. + + PHIL + So many rules -- + + + + -47- + + + + RALPH + You can say that again. + + PHIL + "Don't do this--" + + + + EXT. THE STREET - CONTINUOUS + + The Buick demolishes a parked car. + + PHIL (V.O.) + "Don't do that -- " + He mows down a row of parking meters. + + POLICE CAR + It comes screaming around a corner in hot pursuit of the Buick + + + + INT. THE BUICK - CONTINUOUS + + Ralph hears the siren and looks back at the police car. + + + All right! Try and stop us, you + mothers ! + + PHIL + No more rules! + + RALPH + No more rules! + + + + EXT. THE STREET - CONTINUOUS + + A second police car joins the chase. + + RALPH + (looking back) + That's two! + + PHIL + Having a good time? + + RALPH + I'm having a great time! + Phil speeds up to a hundred miles and hour. Gus is looking + even worse from the liquor and the motion of the car. + + GUS + Hey, uh -- + + PHIL + Phil. + + + + -48- + + + + GUS + Yeah, Phil-- like the groundhog. + + PHIL + Right. + + GUS + Hey, Phil? How're we going to + get out of this? + + THEIR POV - THE INTERSECTION AHEAD + Two police cars with lights flashing are parked sideways, + completely blocking the road. Officers stand in the roadway, + motioning for Phil to stop. + + PHIL + + (CALMLY) + Gus, you're just going to have to + trust me on this one. + He tromps the gas pedal to the floor. Gus's eyes go wide with + terror. + The police dive out of the way. + + PHIL AND RALPH + Yahooooo! + + THEIR POV - THROUGH THE WINDSHIELD + The Buick crashes head on into one of the police cars. + + BLACK OUT: + + C LOSE UP - CLOCK + The time changes from 5:59 to 6:00. The radio starts playing + "I Got You, Babe." + Phil sits up suddenly and looks around, completely amazed. He + is in his room at the bed and breakfast, everything exactly the + same as before. He hops out of bed and quickly examines + himself for signs of physical injury. Nothing. The music ends + and the two deej ays come on. + + DEEJAY + Okay, campers, rise and shine, + and don't forget your booties + because it's COOOLD out there + today. + Phil talks out loud along with them. + + PHIL AND SIDEKICK + It's cold out there everyday. + What is this-- Miami Beach? + + + + -49- + + + The deejays laughs. Phil laughs, too, exhilirated at having + survived the car wreck, still very confused and perplexed, but + just beginning to see the possibilities of his unique + situation. He starts dressing in a hurry. + + CUT TO: + + + + INT. BREAKFAST ROOM - CONTINUOUS + + Phil rushes into the breakfast room just as Mrs. Lancaster + comes out of the kitchen with the coffee. Everything is + exactly the same as before. + + MRS. LANCASTER + W o u l d you-- + Phil interrupts, answering all her questions before she even + asks them. + + PHIL + + (URGENTLY) + Yes, I would like some coffee; + the weather is going to be cold + and overcast with blizzard + conditions moving in later today; + and yes, I will be staying an + extra day. + + MRS. LANCASTER + + (BAFFLED) + Why thank you. + + PHIL + Mrs. Lancaster, has anyone been + around here looking for me this + morning? Maybe a state official, + blue coat, hat, gun, nightstick, + badge, driving a late-model Ford + br Chevy, black and white with + bub ble lights on top-- + + MRS. LANCASTER + + (SHOCKED) + No, no one like that-- I .don't-- + Will they be? + + PHIL + (greatly relieved) + Apparently not. + Phil gooses her, grabs a sweet roll, and heads for the door, + starting to believe now that he can truly do anything he wants + to. + + CUT TO: + + + + -50- + + + + EXT. BOARDING HOUSE - DAWN + + Phil stops on the steps, puts on his coat and gloves and again + joins the traffic heading toward Gobbler's Knob. + + + + EXT. MAIN STREET - MOMENTS LATER + + Phil passes the old bum, ignoring him as usual. + + NED (O.C.) + Hey, Phil! + Phil slips off his glove as Ned Ryerson lumbers toward him. + + NED + Phil! Phil Connors! + + PHIL + Ned! Ned Ryerson! Ned the Head! + Before Ned can say another word, Phil SLUGS HIM. Ned goes + down, Phil puts his glove back on and keeps walking. + Phil deftly avoids the slushy pothole he stepped in before. A + PEDESTRIAN walking behind him steps right into it. + + CUT TO: + + + + EXT . GOBBLER'S KNOB - LATER + Phil is passing through the crowd on his way to the press area + when he notices NANCY, the girl he met at the hotel bar, and + stops to talk to her. + + PHIL + You here to see the groundhog? + She gives him a look. It's obvious she's never seen him + before. + + NANCY + Can you think of another reason + anybody'd be out here at dawn on + a freezing day? + + PHIL + What's your name? + + NANCY + Nancy Taylor. And you are-- + + + + PHIL + Where'd you go to high school? + + + + -51- + + + + NANCY + What is this? + + PHIL + + (PLAYFUL) + High school? + She really doesn't know what to make of Phil but she decides to + play along. + + NANCY + Lincoln High school. In + Pittsburgh. Who are you? + + PHIL + Who was your twelfth grade + English teacher? + + NANCY + Are you kidding? + + PHIL + I'm waiting. + + NANCY + .Mrs. Walsh. + + PHIL + Walsh. Nancy, Lincoln, Walsh. + + NANCY + Is this some kind of come-on? + + PHIL + I'm not really sure. We'll have + to see. + Phil walks off and joins Rita at their camera position. + + CUT TO: + + + + INT. DINER - LATER THAT MORNING + + Phil is sitting at his usual table, which is covered with an + incredible variety of rich foods-- eggs, bacon, sausage, + pancakes, pies, cakes, eclairs, ice cream, puddings, etc. + Rita sits across from him, watching in amazement as he stuffs + himself with pastry. + + RITA + Is this some new fad diet? Don't + you worry about cholesterol? + Phil scrapes a plate and takes a final bite of a chocolate + eclair. + + + + -52- + + + + PHIL + I don't worry about anything + anymore. + + RITA + What makes you so special? + Everybody worries about + something. + + PHIL + That's exactly what makes me so + special. + He takes a big bite of cake. Rita shakes her head. + + PHIL + (with his mouth full) + What? + + RITA + "The wretch, concentered all + in self, + Living, shall forfeit fair + renown, + And doubly dying, shall go + down to the vile dust from + whence he sprung, + Unwept, unhonored, and + unsung." Sir Walter Scott. + + PHIL + (stares at her for a + long moment) + "There was a young man from + Na n t uc k e t-- " + + RITA + That's really funny. When are + you going to grow up, Phil? + + PHIL + At this rate-- never. + (he pulls out a pack of + + CIGARETTES) + Okay if I smoke? + Rita shrugs. Phil lights up a cigarette. + + RITA + You really do have a death wish, + don't you? + + PHIL + Just the opposite, Rita. I have + a life wish. I'm just trying to + enjoy it. Taking pleasure in the + little things. Don't you ever + just want to cut loose and go + wild? + + + + -53- + + + + RITA + I wouldn't even know what it + means to go wild. + + PHIL + Yeah, well, that's where I come + in. Going wild is one of my + specialties. Last night I got + completely loaded and drove head- + on into a police car. + + RITA + + (DISBELIEVING) + Oh, really? You look pretty good + this morning. + + PHIL + That's my point. I know you + won't believe me, but we could do + anything we want today and it + wouldn't matter one bit. + Absolutely no consequences. + Complete and total freedom. + + RITA + And how. . , do we manage that? + + PHIL + You leave that to me. Why don't + you send Larry back and hang out + with me for the rest of the day? + You never make it through that + blizzard anyway. + Larry enters the diner and spots them. + + RITA + I'll take my chances with the + -weather. But you have a good + time. + + PHIL + Don't worry. I plan to. + + CUT TO: + + + + EXT. GOBBLER'S KNOB - NEXT MORNING + + Phil comes through the crowd and finds Nancy in the same spot + she was in the day before. + + PHIL + Nancy? + Nancy turns and looks at him quizzically. + + + + -54- + + + + PHIL + Nancy, right? + + NANCY + I'm sorry, I-- + + PHIL + Nancy Taylor? Lincoln High? I + sat next to you in Mrs. Walsh's + English class. + + NANCY + T h at -- + + PHIL + Phil Connors. + + NANCY + --is amazing! + + PHIL + You don't remember me, do you? + + NANCY + I don't-- sure, I think-- + + PHIL + We used to shoot spit balls-- + + NANCY + Yeah, oh, God-- + + PHIL + I even asked you to the prom. + + NANCY + Phil Connors. + + PHIL + Yeah. + + NANCY + How ARE you?! + + PHIL + I ' m great. Wow, you look + terrific. Hey, listen, I gotta + d o this report-- + + NANCY + You're a reporter? + + PHIL + Weatherman. Channel 9, + Pittsburgh. + + NANCY + Right, I should've known-- + + + + -55- + + + + PHIL + But maybe after we could -- + + NANCY + Yeah, yeah, I ' d like that -- + + RITA (O.C.) + Phil! + Rita is calling from across the crowd. She looks at him with + disapproval . + + CUT TO: + + + + INT. PHIL'S ROOM - NIGHT + + Phil is making passionate love to a WOMAN in the dark. + + WOMAN + + (MOANS) + Oh, Phil. + + PHIL + Oh , Rita . + The woman suddenly freezes. There is a moment of silence, then + she snaps on the light. It's Nancy, not Rita. Phil is as + surprised as she is by his slip of the tongue. + + NANCY + + (COLD) + Who's Rita? + + PHIL + + (CAUGHT) + No one. It's just something I + say when I make love. You know -- + "Orita", "Orighta"-- it's like + "Oh, baby" or something. + + NANCY + (not entirely + + CONVINCED) + Oh. + + PHIL + (corrects her) + O-rita. + Nancy laughs uncertainly. Phil switches off the light, + thinking now about Rita. + + CUT TO: + + + + -56- + + + + INT. BREAKFAST ROOM - MORNING + + Some elderly GUESTS are sipping coffee and eating breakfast, + staring uncomfortably at something on the other side of the + room. + + THEIR POV + Phil is standing at the bookcase, wearing only pajamas, + absently munching on a Danish as he reads from one of the + books. + Mrs. Lancaster approaches him. + + MRS. LANCASTER + Isn't it a wonderful collection? + + PHIL + (not looking up) + Yes, it is. You don't usually + find this many trashy novels in + one place. + + MRS. LANCASTER + You can take a book up to your + room if you like. + + PHIL + No, thank you. I've actually + read them all. I was just + rereading some of the dirty + parts. + He finishes and puts the book back on the shelf. + + MRS. LANCASTER + + (WORRIED) + How long will you be staying with + us, Mr. Connors? + + PHIL + Indefinitely. I've already been + here for 211 days. + + MRS. LANCASTER + (humoring him) + Really? That's quite a long + time, isn't it. I hope you're + finding things to do in our + little town. + + PHIL + + (CASUALLY) + Yes, well, I'm getting a little + tired of casual sex so today I + thought I'd rob a bank and buy + myself a really expensive car. + + + + -57- + + + Phil kisses her on the lips and walks off. + + CUT TO: + + EXT. PENN BANK AND TRUST - DAY + + Two harmless-looking old GUARDS are calmly loading bags of cash + into an armored car parked in front of a local bank. Suddenly + Phil appears, wielding a shotgun, wearing a Batman style cape, + his face completely hidden by a ski mask. + + PHIL + + (SHOUTS) + All right, freeze!! Drop your + guns J! + The guards stand there frozen with terror. + + PHIL + You guys ever been held up + before? + (they shake their + + HEADS) + It's kind of exciting, isn't it? + + FIRST GUARD + + (FRIGHTENED) + I guess so. Something to tell + the kids about. + + PHIL + Yeah. By the way, I'm Phil. + He raises the mask and shows his face. + + FIRST GUARD + Herman. + + S E C O N D GUARD + Felix. + + PHIL + (shaking their hands) + Herman and Felix. Okay. Take it + easy, boys. And thanks. + The frightened guards watch as Phil makes off with two large + satchels of cash. + + CUT TO: + + INT. USED CAR DEALERSHIP - DAY + + Phil pats the hood of a used BMW 850 sports car as a SALESMAN + stands by beaming. Phil is wearing a full Steelers football + uniform complete with shoulder pads. + + + + -58- + + + + SALESMAN + A real beauty, huh. We picked it + u p at a-- + + PHIL + I'll take it. How much? + + SALESMAN + Well, the sticker says $62,999 + bu t if you want-- + + PHIL + I'll tell you what. I'll give + you $70,000 if you just knock off + the car salesman stuff and let me + get out of here with my car. + The Salesman gawks as Phil opens his briefcase and starts + counting out stacks of bills. + + CUT TO: + + + + EXT. PUNXSUTAWNEY - DAY + + From a high angle, we see the BMW tearing around the streets of + the town as if running a Grand Prix road race. + + CUT TO: + + + + EXT. MAIN STREET - DAY + + The BMW comes screeching to a stop right in front of the movie + theater and the door opens. + A pair of really elaborate cowboy boots complete with silver + spurs hits the pavement first; then we PAN UP to see Phil + emerge from the car wearing a really gaudy; full cowboy outfit + with real six-guns on his hips. A very trashy-looking girl, + LARAINE, gets out on the passenger side, dressed like a French + maid. + + LARAINE + (very self-conscious) + I thought we were going to a + costume party. + + PHIL + Yeah, we are, we are. But first + I have this movie theater fantasy + I want to talk to you about. + He escorts her into the theater. + + CUT TO: + + + + -59- + + + + INT. TATTOO PARLOR - ANOTHER DAY + + Phil is lying on the table, getting elaborately tattooed. + Rita walks by, looks in the window and is shocked to see Phil + there. + Phil waves at her and points to the colorful new heart pierced + by a bloody dagger being tattooed on his arm. + + CUT TO: + + + + INT. BIKER BAR - NIGHT + + We pan down the line of ROUGH TRADE PATRONS to. Phil, dressed + all in black leathers, both arms heavily tattooed, looking like + Sid Viscious on crack. He takes off his hat to reveal red, + white and blue hair shaved almost down to his skull. A slut + named ANGIE and another overweight, not very pretty MADONNA + WANNA-BE, both in too-tight jeans and bullet bras are coming on + to him, practically licking his ears. Angie pops a couple of + mystery pills into his mouth. Phil washes them down with a + shot and a beer. + + I + + CUT TO: + + + + INT. PHIL'S ROOM - NIGHT + + It looks like ;outtakes from Fellini's "Satyricon." Heavy metal + is blaring from the radio, as several unsavory looking men and + women are partying down, a few already passed out, sleeping off + whatever hit them. Someone is knocking loudly on the door, + shouting complaints about the music. A beer bottle smashes + against the door. + Phil is sitting up on the bed with Angie. He has his arm + around her shoulder and a fifth of Wild Turkey in his hand. + + PHIL + (more to himself than + to Angie) + Yeah, but eventually you' d just + get tired of screwing around and + then you'd want a real + relationship, wouldn't you? + + ANGIE + I don't know. + A big German Shepherd tries to jump up on the bed with them. + + PHIL + Get down, Brunoi + + (CONTINUING) + Someone decent, someone who you + respected, who respects you. + + + + -60- + + + + + + ANGIE + I guess so. + The dog jumps up again. + + PHIL + Down , Bruno ! + (still musing) + It's tough to find a relationship + like that, especially if your + time is kind of limited. But you + still have to try, don't you? + (the dog again) + Bruno! I told you! Off the bed! + Phil looks over at Angle who's passed out with her mouth open + + PHIL + There ' s got to be more to it than + this. + + CUT TO : + + + + EXT. A SIDE STREET - THE NEXT MORNING + + Rita is in the news van reviewing the tape of Phil's report + Phil hovers at the open side door. + + RITA + You look good. I mean, it came + o ut all right. How'd you know + where to put the camera? + + PHIL + Psychic. So did you have a nice + evening? + + RITA + + (GUARDED) + I just had a sandwich, watched + some TV and went to bed. + + PHIL + I got my whole body tattooed and + part ied all night with some + nymphomaniac biker chicks. + + RITA + + (SKEPTICAL) + Sounds wholesome. Were those the + new 24-hour disappearing tattoos + or can I see them? + + PHIL + No, they're gone. Rita, if you + only had one day to live, what + would you do with it? + + + + -61- + + + + + She switches off the videotape and steps out of the van. + + RITA + I don't know, Phil. What are you + dying of? + + PHIL + No, I mean like what if the + entire world was about to + explode? + + RITA + I ' d just want to know where to + p ut the camera. What are you + looking for, Phil-- a date for + the weekend? + She starts walking toward the center of town. Phil sticks + right with her. + + PHIL + No, I just want to know you + better. What do you like, what + do you want, what do you think + about, what kind of men are you + interested in, what do you do for + fun? + + RITA + (she stops) + Is this real or are you just + going to make me feel like a + fool? + + PHIL + I'm just trying to talk to you + like a normal person. Isn't this + how normal people talk? + + RITA + Close. + + PHIL + Okay, so talk to me. C'mon, I'll + buy you a cup of coffee. + + CUT TO: + + + + INT. DINER - A LITTLE LATER + + Phil and Rita are at their usual table, drinking coffee. + + RITA + I guess I want what everybody + wants-- you know, career, love, + marriage, children. So far I + don't have any of it. + + + + -62- + + + + PHIL + You have a career. + + RITA + I have a job. Doing stories on + the Punxsutawney groundhog is not + my ultimate goal. No offense. + + PHIL + How about the other stuff? You + seeing anybody? + + RITA + This is getting too personal. I + don't think I ' m ready to discuss + these things with you. What + about you? What do you want? + + PHIL + What I really want is someone + like you. + + RITA + O h , please-- + + PHIL + Why not? + + RITA + Phil, you know, you have so much + talent and ability. If you'd + just drop the attitude and act + like a decent human being, then + maybe I ' d -- + (she hesitates) + + PHIL + You'd what? + + RITA + I don't know what. + + PHIL + Then maybe you'd like me? + She stares hard at him. + + RITA + I don't know. It's sort of like + the way I feel about UFO's. I'd + have to see it to believe it. + Larry pokes his head in the doorway, looks around, spots Rita + and makes his way over to their table. + + + + -63- + + + + LARRY + (to Rita) + You ready? We better get going + if we're going to stay ahead of + the weather. + + RITA + Yeah, I'll be right out, Larry. + Larry scowls at Phil and exits. + + PHIL + (to Rita) + Why don't you stay for a while? + The road's going to be closed + anyway. Do you really want to be + stuck in the van with Larry for + three hours? + + RITA + I've got to get back. I'll see + you later. + Phil watches Rita exit. + + PHIL'S POV + Rita gets in the news van and drives off with Larry. + Phil stares out the window, more" determined than ever to win + her over. + + CUT TO: + + + + EXT. GOBBLER�S KNOB - ANOTHER DAY + + Phil is wrapping up his groundhog report. + + PHIL + Well, you heard it right from the + groundhog's mouth. Bundle up + good, 'cause it's going to be a + long winter-- at least in + Punxsutawney. Reporting for + Channel 9, this is Phil Connors. + Larry stops tape. + + RITA + That was great. How did you know + + THE-- + + PHIL + + (PREOCCUPIED) + I have to go now. There's + something I have to do. + + + + -64- + + + Phil runs off without another word of explanation. + + CUT TO: + + + + EXT. THE NEWS VAN - LATER + + Phil has the hood open and is doing something to the engine. + + CUT TO: + + + + INT. THE BERGHOF RESTAURANT - LATER + + Rita is sitting at the bar in the town's best restaurant, a + good chophouse with Black Forest decor and waitresses dressed + in dirndl skirts and aprons. Phil enters and sits down next to + her. + + PHIL + (acting surprised) + Oh, hi, Rita. You still here? + + RITA + + (GLUM) + The van won't start. Larry's + working on it. + + PHIL + + (INNOCENT) + Wouldn't you know it. Buy you a + drink? + + RITA + Okay. + + PHIL + (to the bartender) + Jack Daniels. + + BARTENDER + For you, miss? + + RITA + Tequila,with lime. Gold, if + you've got it. + Phil nods to himself. + + CUT TO: + + SAME SCENE - ANOTHER DAY + Phil walks in and sits next to Rita. + + PHIL + (acting surprised) + Oh, hi, Rita. You still here? + + + + -65- + + + + R IT A + + (GLUM) + The van won't start. Larry's + working on it. + + PHIL + Wouldn't you know it. Buy you a + drink? + + RITA + Okay. + + PHIL + (to the bartender) + Tequila with lime, gold if you've + got it. + Rita looks at Phil, surprised. + + BARTENDER + For you miss? + + RITA + Same for me, please. + The BARTENDER pours. + + PHIL + (to Rita) + What should we toast to? + + RITA + Your call. + + PHIL + To the groundhog! + Rita stares for a moment. + + RITA + I always drink to world peace. + + CUT TO: + + SAME SCENE - ANOTHER DAY + + BARTENDER + Take your order? + + PHIL + Tequila with lime, gold if you've + got it. + Rita looks at Phil. + + , BARTENDER + For you, miss? + + + + -66- + + + + + + RITA + Same for me, please. + The BARTENDER pours. + Phil lifts his glass. + + PHIL + To world peace. + Rita smiles, reevaluating him. + + RITA + To world peace. + They clink glasses. + + CUT TO: + + + + INT. THE BAR - LATER + + Rita and Phil are now sitting together at a table, a plate of + cheese and crackers and a bottle of white wine between them. + + PHIL + You like your job? + + RITA + It's okay. I think it could be + really challenging. Of course + it's about a million miles from + where I started out in college. + + PHIL + You weren't in broadcasting? + + RITA + At Bryn Mawr? No, uh-uh. + "Believe it or not, I studied + Nineteenth Century French Poetry. + + PHIL + (laughs good-naturedly) + Really? What a waste of time. + Rita looks offended. Phil knows he made a mistake. + + CUT TO: + + SAME SCENE - ANOTHER DAY + + PHIL + You weren't in broadcasting? + + + + -67- + + + + + + RITA + At Bryn Mawr? No, uh-uh. + Believe it or not, I studied + Nineteenth Century French Poetry. + Phil leans in closer to her. + + PHIL + La fille qui j'aimera + Sera comme bon vin + Qui se bonifiera + Un peut chaque matin. + Rita smiles, entranced. + + CUT TO: + + + + INT. FUDGE SHOP - DAY + + Phil and Rita are sitting at a table in a small confectionery, + tasting chunks of different flavored fudge. Rita takes a bite + + RITA + This is terrific. + + PHIL + Best fudge in town. + + RITA + How do you know so much about + Punxsutawney? + + PHIL + I like small towns. I think they + engender real community more than + big cities. + + RITA + That is so true! I've always + thought that, too. + + PHIL + No kidding. Here-- try the white + chocolate. + + RITA + Oh, yuk, don't make me sick. + + PHIL + (making mental note) + No white chocolate. + + RITA + There's something so familiar + about this. Do you ever have + deja vu? + Phil smiles. Then Larry enters. + + + + -68- + + + + + + LARRY + (irate, to Rita) + I don't believe it. Someone + bought every distributor cap in + this town. We're going to be + stuck here all night1 + Over Phil's sympathetic look we hear the song, "I Can't Get + Started With You". + + CUT TO: + + + + INT. THE BERGHOF RESTAURANT - NIGHT + + The music continues over Rita and Phil on the small dance + floor. They dance, close, dreamy, romantic. + + CUT TO: + + + + EXT. MAIN STREET - LATER THAT NIGHT + + There is a light snow falling. Phil and Rita are making a + little snowman. Somehow the town looks magical tonight-- old + fashioned, wholesome. + A snowball hits Phil in the back. He and Rita turn around to + see a giggling KID. Phil packs a snowball and tosses it. The + kid throws one back. Rita and Phil both get into it, packing + snowballs and getting into a war with this kid and his little + gang of friends. + A snowball catches Rita unaware, she slips and goes down in a + snowbank. Phil bends down to help her and slips. They are no + together, lying in the snow, laughing. Their eyes lock for a + long sweet moment, then Rita gets embarrassed and stands up. + + CUT TO: + + + + EXT . CHERRY STREET INN - NIGHT + Phil and Rita are walking slowly, very close. + + PHIL + What? + + RITA + I ' m just amazed. And I'm not + easily amazed. + + PHIL + About what? + + + + -69- + + + + RITA + How you can start a day with one + kind of expectation and end up so + completely different. + + PHIL + Do you like how this day is + turning out? + + RITA + Yes. I like it very much. + They stop dn front of Phil's hotel. She turns to him. + + RITA + You could never have planned a + day like this, but it couldn't + have been more perfect. + + PHIL + You're wrong. I've been planning + this day for weeks. + Rita ignores the remark and hugs him. Phil tries to kiss her + but she gently puts her fingers to his lips, stopping him. + \ They enter the bed and breakfast inn. + + + + INT. VESTIBULE - CONTINUOUS + + Rita hugs him again and starts to exit. + + RITA + Thanks. See you tomorrow. + + PHIL + Tomorrow? Wait, aren't you going + to come up to my room for a + while? + + RITA + (very reluctant) + I don't know, Phil-- + + PHIL + No�reason to end a perfect day. + + RITA + + (DECIDING) + Well-- we better not. + + PHIL + No, you should. The, uh, the + poetry! I've got some books, + Rimbaud, Beaudelaire, we could + l ig ht a fire-- + + + + -70- + + + + RITA + Thanks, but -- + + PHIL + (seeing it all slip + + AWAY) + Please come, Rita. It'll be -- + + RITA + + (DEFINITE) + Phil, I'm tired. We can be + together tomorrow. + + PHIL + (getting desperate) + But there is no tomorrow for me! + + RITA + + (ADAMANT) + Let's not ruin it, Phil. There's + no way I ' m sleeping with you + tonight. + + PHIL + Why not? Rita, I love you! + + RITA + You don't even know me! + + PHIL + (grabs her hand) + Please! You have to! + Rita shakes loose from his grasp. + + RITA + What's wrong with you! + There is a long moment of silent tension, then all her old + doubts about Phil come rushing back. + + RITA + (shaking her head) + Oh, no. I can't believe I fell + for it. This whole day was just + one long set-up. And I ate + fudge. Yucchh! I hate fudge. + + PHIL + No, it was real. I love you. + + RITA + Stop saying that! Do you really + expect me to trust you? The + whole secretarial pool is a Phil + Connors recovery group. + + + + -71- + + + + + + PHIL + But I can change! I really can-- + Rita slaps him hard on the cheek. + + RITA + That's for making me care about + you. + She turns and stomps off, leaving Phil standing there hurting. + + CUT TO: + + + + EXT. MAIN STREET - ANOTHER NIGHT + + The snowball fight with the kids is going on as before. Phil + falls into the snowbank with Rita and they almost kiss. + + CUT TO: + + + + INT. QUALITY INN MOTEL - LATER + + Phil is trying (MOS) to talk his way into Rita's room. She + ^pushes him away and slams the door in his face. + + CUT TO: + + + + EXT. MOTEL - NIGHT + + The streets are deserted except for Phil, staring up at Rita's + window in the Quality Inn. + Rita comes to her window and looks out. She sees Phil looking + up at her and draws the curtains. + + CUT TO: + + + + INT. PHIL'S ROOM - DAWN + + "I Got You, Babe" is playing. Phil hits the clock radio to + turn it off. He lies there for a moment, then hefts himself + heavily out of bed, not eager to repeat the day yet another + time. With the radio off, Phil does the deejays' morning + routine himself, seemingly for the millionth time. + + PHIL + + (DULLY) + Okay, campers, rise and shine, + and don't forget your booties + because it's cooooold out there + today. + Phil continues the radio report at his own pace, obviously + fatigued. + + + + -72- + + + + PHIL + It's cold out there everyday. + What is this -- Miami Beach? Haw. + Not hardly. And you can expect + hazardous travel later today with + that, you know, blizzard thing. + + CUT TO: + + + + EXT. GOBBLER'S KNOB - DAWN + + Phil is walking through the crowd. He spots Nancy, walks up to + her and greets her half-heartedly . + + PHIL + Hi, Nancy. + + NANCY + + (PLEASANTLY) + Hi. Do I know you? + Phil can't manage enough enthusiasm to pursue her yet again. + + PHIL + No, I guess not. I thought you + were someone else. + Phil wanders over to where Rita and Larry are setting up the + camera. Rita comes over to him. + + RITA + Are you all right, Phil? You + look terrible. + Phil looks at her sadly, then turns away. + + PHIL + + (VACANTLY) + I ' m fine. + + CUT TO: + + + + INT . BIKER BAR - NIGHT + The balls CRACK as the cue ball breaks the rack. + Phil is walking around the table, cue in hand, sinking ball + after ball, while several admiring HUSTLERS look on. + + FIRST HUSTLER + Who is this guy? + + + + -73- + + + + SECOND HUSTLER + I don't know. Hey, mister-- + (Phil doesn't stop + + SHOOTING) + Who are you, anyway? + Phil shoots, sinks a tough one. + + PHIL + You don't know me? I've been + playing here every day for two + months. + + FIRST HUSTLER + Oh, yeah? So how come I ain't + seen you? + + PHIL + I don't know. I seen you. + + SECOND HUSTLER + So what's your name? + + PHIL + They call me-- Punxsutawney Phil. + + SECOND HUSTLER + Punxsutawney Phil? Like the + groundhog. + + PHIL + Yeah, like the groundhog. + Phil sinks another one. + + CUT TO: + + + + EXT. GOBBLER'S KNOB - DAWN + + The crowd is waiting expectantly for the groundhog to appear + Phil is a wreck, squatting unprofessionally in front of the + camera. + + PHIL + + (CYNICALLY) + This is one of the most pitiful + spectacles known to civilization. + With one nod from a filthy rodent + best known to pest control + agencies, a moribund old coal + mining hamlet turns magically + into the Lourdes of Pennsylvania, + Mecca to thousands of people who, + if they hated the winter so + damned much, why don't they move + to Florida, anyway? + + + + -74- + + + Larry and Rita look on, incredulous. + + . CUT TO: + + CLOSE UP - TV SET + The program JEOPARDY! is playing. + + ALEX TREBECK + (on TV) + Nobel prize-winning co- + discoverers of the DNA molecule. + + PHIL (O.C.) + Who are Watson and Crick. + + CONTESTANT + (on TV) + Who are Watson and Crick? + + ALEX + (on TV) + Correct. + There is a cheering from a small group of people off-screen. + + + + INT. PARLOR - CONTINUOUS + + Phil is sitting in his bathrobe in a big lounge chair in the + parlor of his hotel. Mrs. Lancaster, and other guests watch + his performance, awed by his "intellect." + + ALEX + (on TV) + Twin brother and sister Sebastian + and Olivia create confusion in + this Shakespearean comedy. + + PHIL + What is "Twelfth Night." + + CONTESTANT + (on TV) + What is "Twelfth Night?" + + ALEX + (on TV) + Correct. + More cheering from the small group. + + CONTESTANT + (on TV) + I'll take New Jersey for eight + hundred, Alex. + + + + -75- + + + + ALEX + (on TV) + And the answer is-- an audio + daily double. + + PHIL + Count Basie. + + CUT TO: + + + + EXT. STREET - DAY + + Phil is walking through town, still dressed only in his pajamas + and overcoat, counting the sidewalk cracks, taking giants steps + from one to the next. He looks crazy. + + PHIL + Two thousand six hundred and + s e ve n ty -o n e-- + (takes another step) + two thousand six hundred and + se v en t y -t w o -- + (another step) + two thousand six hundred and + seventy-thr-ee-^- + A woman passes walking her dog. + + PHIL + Hey, pick up after your dog! + + DOG WALKER + He hasn't done anything. + + PHIL + He's going to! + + (POINTING) + There and there. And there! + Phil continues walking, counting the sidewalk cracks. THREE + NEIGHBORHOOD KIDS notice Phil and walk along, matching him step + for step. + + IPHIL + Two thousand six hundred and + seventy-four, two thousand six + hundred and seventy-five, two + + THOUSAND'-- + + JOEY + Five million eight hundred-- + + PHIL + S i x hundred-- + + MIKE AND SUE + Ninety, twenty, four, six, fifty-- + + + + -76- + + + + PHIL + Two thousand, four hundred-- + + JOEY, MIKE AND SUE + Two, eight, nine, forty-six-- + Phil stops. He has lost count. His lip curls up like an + animal as he turns slowly, growling at the kids. They run away + screaming with glee. Phil starts after them but runs right + into a COP. + + COP + You got a problem, buddy? + + PHIL + (out of control) + Yeah, I got a problem, buddy! I + can't stand this place anymore! + I can't stand this street and I + can't stand the fourteen bars and + the five banks and the one star + food and the bad weather and the + "quaint" little shops and most of + all, I can't stand anything-- + ANYTHING-- with a groundhog on + it. + He rips a groundhog patch off the cop's jacket sleeve. + + COP + + (CALMLY) + Okay. Then let's see what we can + do about getting you out of here. + You got a name? + + PHIL + (eyes downcast) + Phil. + + COP + Phil. Like the groundhog! + Phil turns to the cop like a rabid dog, ready to strike. + + PHIL + Yeah, like the-- + (he stops as if struck) + --groundhog. + Some big new idea has formed in his mind. + + CUT TO: + + + + EXT . GOBBLER'S KNOB - EARLY MORNING + Rita is looking at Phil as Larry videotapes his report. + + + + -77- + + + + LARRY + (turning to Rita) + The guy's nuts. He's out of his + gourd. + + RITA + Let him finish, then I'll call + the station. + They turn back to watch Phil's wrap-up. + Phil is completely unkempt, still wearing only pajama bottoms + and his overcoat, looking even more demented. + + PHIL + (to camera) + There is no way this winter is + ever going to end as long as that + groundhog keeps seeing his shadow + everyday. I don't see any other + way out. He's got to be stopped + and I've got to stop him. For + Channel 9 news, this is Phil + Connors. + + CUT TO: + + + + EXT. GOBBLER'S KNOB - NIGHT + + Phil is walking around the mound, casing it out. He takes a + rifle out from under his coat and sneaks up to the burrow. He + pulls a smoke bomb from his pocket, lights it, and throws it + into the hole, then scurries for the edge of the knob and hits + the deck. He lifts his rifle and aims it. + Smoke is now pouring from the mound. Lots of it. + Phil waits, his trigger finger twitching. + A WOMAN casually walks by, stops. She surveys the situation. + + WOMAN + He ain't there. + Phil doesn't move. He-doesn't care that she sees him. + + WOMAN + You can wait all night, but he + ain't coming out. He don't live + there. They keep him in the + library. + Phil's gun droops. The woman begins to walk off, then stops. + + WOMAN + Plug him once for me. + + + + -78- + + + She leaves. + + CUT TO: + + + + EXT. CIVIC CENTER - DAY + + Phil passes a pedestal bearing a life-size bronze statue of the + groundhog and enters the public library. + + + + INT. LIBRARY - CONTINUOUS + + Phil walks past the front desk looking very haggard and + dangerous, and enters the children's section. No one is + present except the CHILDREN'S LIBRARIAN, a young woman, + reshelving books in the stacks. He looks around quickly and + sees a window in the wall and over it a large sign which reads: + "Punxsutawney Phil - The Great Prognosticates" + Phil heads right for it. + The groundhog scurries around his little temperature-controlled + habitat, oblivious to the approaching danger. + As Phil approaches the groundhog display, he reaches into his + overcoat and pulls out a pump shotgun with a short pistol grip. + The children's librarian sees the gun and freezes. + Phil pumps a shell into the chamber as he walks right up to the + case. + + PHIL'S POV + The groundhog looks right into his sights. + Philsqueezes the trigger. LOUD GUNSHOT. + The glass window is still intact, not a scratch on it. The + groundhog looks up playfully. + Phil fires off four more rounds but, again, no results. Phil + can't believe it. He charges the glass and pounds it with the + rifle butt. He can't even chip it. Suddenly he is seized from + behind by TWO STRONG MEN who take the rifle from him and + wrestle him to floor. + The librarian comes running up and looks at the groundhog. + + BYSTANDER + Is he all right? + + LIBRARIAN + He's just fine. That's two + inches of bullet-proof glass + there. You can't be too careful + in this day and age. + + + + -79- + + + + CUT TO: + + + + EXT. GOBBLER'S KNOB - DAWN + + The groundhog is just poking his head out of the hole. He + stands full height and looks around. + Phil looks directly at the groundhog with hate and scheming + madness. + Suddenly, Phil whips out a big kitchen knife from under his + icoat and dives at the groundhog. Town officials and police + throw themselves on Phil as the groundhog scampers safely back + into his hole. + Rita and Larry videotape the incident, aghast at Phil's insane + attack. + + CUT TO: + + + + EXT. GOBBLER'S KNOB - ANOTHER DAY + + Larry and Rita are loading their equipment back into the van. + Rita spots Phil standing on the other side of the crowd, + staring at her. She marches straight over to him, furious. + + RITA + Where were you this morning? How + could you possibly miss the + shoot? + + PHIL + (at the end of his + + ROPE) + I've come to the end of me, Rita. + There's only one way out now. + Just remember/we had a wonderful + day together once. + Phil kisses her gently on the cheek and walks off toward the + back of the knob. Rita watches him, then follows at a discreet + distance, very worried. + In a small clearing behind the man-made groundhog burrow, + Buster Greene and TWO other GROUNDHOG CLUB OFFICIALS are + lifting a cage into the front seat of Buster's pickup. + + B USTER + (to the groundhog) + There you go, ol' buddy. Good + job. Hey! He smiled at me. See + that? + + FIRST OFFICIAL + Right. + + + + -80- + + + + BUSTER + (securing the cage) + There, little fella. + The other official looks up and sees Phil walking toward them + like a zombie. + + OTHER OFFICIAL + Hi, there, mister. Something I + can do you for? + Without a word, Phil jumps quickly into the cab of the pickup + and starts it up . + + FIRST OFFICIAL + Hey! What 're you -- ! + Phil drives off in Buster's truck. + Rita witnesses the groundhog-napping and runs back toward the + knob. + + RITA + + (SHOUTS) + Larry! + Buster and his aides race for another car parked nearby. + + BUSTER + Jake! Call the police, and get + the word out. Somebody kidnapped + Phil. We're going after him. + Come on, Tommy! + They jump into a car, Buster guns the engine and takes off + after the pickup. + Rita runs up to Larry and grabs the camera on the fly. + + RITA + Let's go! Phil just snatched the + groundhog! + Larry does a slow take and starts gathering up the rest of the + gear. + + LARRY + + (MUTTERS) + Probably some kind of gerbil + deal. Pervert. + + CUT TO: + + + + -81- + + + + + + EXT. LOCAL ROAD - MINUTES LATER + + Phil comes tearing around a slippery curve, followed by Buster + in his car, and close behind him, a contingent of police cars + and the Channel 9 news van. + + + + INT. PICKUP - CONTINUOUS + + Phil looks at the groundhog on the seat next to him, then + punches the gas as he turns up a mountain drive. + + PHIL + Coming to the end of the trail, + Phil. Then we're going out in a + blaze of glory. + + + + INT. BUSTER'S CAR - SAME TIME + + Buster pursues Phil with relentless determination. + + BUSTER + Nobody takes my groundhog and + gets away with it. + + .. � . + + INT. THE NEWS VAN - SAME TIME + + Rita is driving. Larry is hooking up the camera. + + RITA + (very upset) + What is he doing? What can he be + thinking? He must1 ve just -- + snapped. + Larry squeezes into the passenger seat with the camera mounted + on his shoulder . + + LARRY + This oughta be good. + + + + EXT. MOUNTAIN ROAD - CONTINUOUS + + The cars chase the pickup to the top of the mountain. + + + + INT. BUSTER'S CAR - CONTINUOUS + + + BUSTER + Okay! I know this road. There's + no way off ' cept the way we come + up. + + FIRST OFFICIAL + All right! We got him now. + + + + -82- + + + + EXT. LOGGER'S LEAP - CONTINUOUS + + The pickup is losing its lead over the pursuers as it nears the + sharp mountain cliff. + + + + INT. THE PICKUP - SAME TIME + + Phil looks in his rearview mirror at the cars chasing him. He + glances down at the groundhog. He takes a breath. + + PHIL + Okay, pal. It's showtime. + Phil hits the gas. + + + + INT. THE NEWS VAN - SAME TIME + + Larry is taping as Rita comes around the curve just in time to + see the pickup truck speeding toward the cliff. Rita hits the + brakes and watches in horror. + + RITA + + PHIL! NO! + + + + + + EXT. LOGGER'S LEAP - CONTINUOUS + + The pickup bursts through a retaining fence and rockets over + the edge of the cliff. + The pickup seems to hang in the air for a long time, then it + begins its SLOW MOTION descent, falling ever so gracefully + until it impacts on the granite rock face far below. + BIG EXPLOSION. BIG FIREBALL. FLAMING WRECKAGE. Then a small + click, followed by "I Got You, Babe." + + DISSOLVE TO: + + PHIL + He slowly opens his eyes and blinks. He looks around and + realizes he's back in his room at the bed and breakfast. + + PHIL + Ah, nuts! + Phil throws off the covers and hurls himself out of bed. + + CUT TO: + + + + -83- + + + + INT. NED RYERSON'S OFFICE - DAY + + Ned and a client are huddled over his desk, looking at some + papers. A BODY DROPS quickly past the window behind them. + It's Phil. + They rush to the window and look down at the sidewalk three + stories below. Phil is sprawled there like a broken puppet, + lifeless. + + + + INT. PHIL'S ROOM - DAWN + + "I Got You, Babe" is playing. Phil wakes up and smashes the + radio. + + CUT TO: + + + + EXT. STREET - DAY + + Rita and Larry are walking down the street when a GREYHOUND BUS + pulls out of the bus station and accelerates down Main Street. + Suddenly, Phil, dressed in pajamas and overcoat, leaps out in + front of the speeding bus. Rita witnesses the whole incident. + + D RIVERS' POV + He sees Phil through the windshield but doesn't even have time + to hit the brakes before he runs right over Phil. + + CUT TO: + + A TV SCREEN + A woman in some horror movie is screaming. + + REVEAL + Mrs. Lancaster is watching TV in the parlor of the hotel. In + the corridor behind her, Phil walks by, dressed in a robe, + carrying an electric toaster and a towel, heading for the + bathroom. + A few moments pass. + We hear the zap of an electrocution, the lights and TV flicker + and dim for a moment, then come back on again. + + CUT TO: + + + + EXT. THE BANK - DAY + + The building is surrounded by police, all crouched behind their + cars with guns and rifles trained on the doors. + + + + -84- + + + Suddenly, the doors burst open and Phil comes running out of + the bank screaming, dressed in camouflage fatigues and armed to + the teeth with an assault rifle in one hand, an Uzi in the + other and a couple of handguns stuck in his belt. He doesn't + get three feet before he is shot down in an incredible hail of + gunfire. + Rita stands beside the camera gaping in horror while Larry + records the grisly massacre. + + + + INT. CORONER'S - DAY + + Rita stands by weeping while Phil's body is covered with a + sheet. + In the shadowy darkness under the sheet, a CLICK is heard and + Phil's eyes pop open. "I Got You, Babe" plays. + + + + INT. PHIL'S ROOM - CONTINUOUS + + Phil pulls the sheet off his face and finds himself back in his + bed in his room. A tear falls from his eye. + + CUT TO: + + + + INT. DINER - DAY + + Phil and Rita are sitting in the diner at their regular table. + + RITA + I ' m sorry. What was that again? + + PHIL + I'm a god. + + RITA + You're God? + + PHIL + No, I'm A god. Not THE God-- at + least I don't think I am. + + RITA + That's reassuring. For a mintute + there I thought you might be + crazy. + + PHIL + No, it's true. It's the only + possible explanation. I'm a + supernatural being. + + RITA + Because you survived a car wreck? + + + + -85- + + + The waiter comes to the table. + + WAITER + Are you ready to order? + + PHIL + (to Rita, ignoring the + + WAITER) + Not just the car wreck! I didn't + just blow up yesterday, you know. + I've been run over, drowned, + crushed, stabbed, shot, + electrocuted, poisoned, frozen, + burn ed, and asphyxiated-- + + RITA + Really? + The waiter looks at him like he's nuts. + + PHIL + --but I always wake up the next + day without a scratch, without + even a headache. I'm telling + you, I ' m immortal. + + WAITER + The special today is blueberry + waffles. + + RITA + Why are you telling me this? + + WAITER + + (SHRUGS) + Because some people like + blueberry waffles. + + RITA + (to the waiter) + No t you-- him. + + PHIL + Because I want you to believe in + me. + + RITA + You're not a god, Phil. Take my + word for it. This is twelve + years of Catholic school talking. + + WAITER + I could come back if you're not + ready. + + PHIL + How do you know I'm not a god? + + + + -86- + + + + RITA + Please. + + PHIL + How do you know? + + RITA + Because it's not possible. + + WAITER + I'll come back. + The /waiter turns to leave. + + PHIL + Hey, Billy! + The waiter turns back. + + PHIL + This is Bill. He's been a waiter + for three years because he left + Penn State and had to find work. + He likes the town, he paints toy + soldiers, and he's gay. + + WAITER + I am notl + Phil grabs an astonished Rita and pulls her over to the next + table. + + RITA + What are you doing? + + PHIL + This is Doris Kleiser and her + fiance Fred. + + DORIS + Do I know you? + + PHIL + They're supposed to get married + tonight but Doris is having + second thoughts. + + FRED + What! + Doris touces her engagement ring, dumbfounded. Rita is a + little embarrassed. + + RITA + Lovely ring. + + DORIS + Thanks. + + + + -87- + + + Phil drags Rita to the counter. + + PHIL + This is Ralph. Say "Hi," Rita. + Rita flashes a quick smile. + + RALPH + Don't believe I've had the-- + + PHIL + Ralph hates his life here and + wants to drive around town + smashing into policemen. + + RALPH + Well, who don't? + + RITA + This is some kind of trick. + + PHIL + Yes, it's a trick. But maybe the + real God cheats, too. Maybe God + isn't omnipotent-- he's just had + a lot of practice. + + RITA + How about that guy? + + PHIL + Tom. Worked in the coal mine + �til they shut it down. + + RITA + Her? + + PHIL ' + Nancy. Went to Lincoln High + School in Pittsburgh. Takes + herself out to lunch once a week. + Rita is getting very bewildered. From their reactions she can + see that Phil is right about each and every one of them. + + RITA + How do you know these people! + + PHIL + I told you the truth. In five + seconds there's going to be a + grease fire in the kitchen. + Five, four-- + + RITA + This is nuts. + + + + -88- + + + + PHIL + --three, two, one. + Phil points to the kitchen as smoke starts pouring from the + service window. Everyone in the diner is now staring at them + + RITA + (trying to puzzle it + + OUT) + Okay, enough. Let's just sit + down and think for a second. + (they sit) + What do you know about me, Phil? + Do you know me, too? + Phil takes a long pause. + + PHIL + I know all about you, Rita. I + know you like producing, but hope + for better than Channel 9, + Pittsburgh. + + RITA + Everyone knows that. + + PHIL + You like boats but not the ocean. + There's a lake you go to in the + summer with your family, up in + the mountains, with an old wooden + dock and a boathouse with boards + missing in the roof, and a place + you used to crawl underneath to + be alone, and at night you'd look + up and see the stars. You're a + sucker for Rocky Road, Marlon + Brando, and French poetry. + You're wonderfully generous; + you're kind to strangers, and + children; and when you stand in + the snow, you look like an angel. + + + + RITA + How are you doing this? + + PHIL + I told you! I wake up every day + right here, right in + Punxsutawney, and it's always + February second and I can't turn + it off. If you still don't + bel iev e me, listen-- + + RITA + B u t , Phil-- + + + + -89- + + + + PHIL + Listen! In ten seconds Larry is + going to walk through that door + and take you away from me. + + RITA + Larry? + + PHIL + But you can't let him. Please + believe me. You've got to + believe me. + + RITA + I don't -- + Larry pokes his head in the doorway, looks around and spots + Rita. + + PHIL + Look. + As Rita turns around to see Larry, Phil grabs a pen and pad + from a passing waitress and quickly writes something down as + Larry makes his way to their table. Phil finishes writing. + + LARRY + (to Rita) + You ready? We better get going + if we're going to stay ahead of + the weather. + Phil hands the paper to Rita. She reads it. + + RITA + + (READING) + " . . . stay ahead of the weather. " + Larry looks at the paper. + + LARRY + What ' s that? + Rita looks at Phil with new understanding and empathy. + + CUT TO: + + + + EXT. PUNXSUTAWNEY - DAY + + Phil and Rita are walking down the sidewalk. + + PHIL + Afer I got over the shock, it was + kind of fun for the first year or + two. I had anything I wanted. + Except you, of course. + + + + -90- + + + + + Phil abruptly pulls Rita aside. A big pile of snow slides off + a roof and onto the sidewalk where they would have walked. + Phil doesn't even look up. Rita looks, as if she's seeing a + miracle. + + RITA + How did this start? + + PHIL + I don't know. I just woke up. + Just like always. + NED RY-ERSON approaches. + + NED + Hey, Phil! Phil Connors 1 + + PHIL + Rita, this is Ned Ryerson. He's + an asshole. + + NED + He remembers me! + Phil and Rita keep walking. Rita looks back at Ned, perplexed + + PHIL + Trust me on that one. + + CUT TO: + + + + EXT. FUDGE SHOP - DAY + + Phil and Rita come out of the shop, sharing pieces of fudge. + + RITA + This is great. + + PHIL + No, it isn't. You hate fudge. + + . RITA + Just how well do we know each + other? + + PHIL + I told you. I know everybody. + Rita stops walking. + + RITA + Did we ever...you know? + + PHIL + + (TEASING) + Did we ever! You were an animal. + + + + -91- + + + + + + RITA + Come on. + + PHIL + You're European trained, aren't + you. + Phil continues walking. + + RITA + + (BLUSHING) + Phil! It's not funny. + She catches up to him. Phil turns to her. + + PHIL + You weren't interested. + + RITA + + (RELIEVED) + Okay. + She begins walking again. + + RITA + Not that it would've been so + awful. + + PHIL + I understand. + + RITA + I just had to know whether to + smack you or not. + + PHIL + You did. + + RITA + Good. + + CUT TO: + + + + EXT. PARK - DAY + + Phil and Rita are sitting on a park bench. + + PHIL + So do you believe any of this? + + RITA + I don't know. I don't know how + else you could know so much. + Maybe it is really happening. + + + + -92- + + + + PHIL + I used to try to stay up all + night sometimes. I thought if I + could stay conscious I could + figure out what was going on, or + at least hang onto something from + the day before. But I gave up on + that a long time ago. + Rita looks at him with compassion. + + RITA + It sounds so-- lonely. + + PHIL + (trying to shrug it + + OFF) + It's not that bad. You get used + to it. + Rita comes to a decision. + + RITA + Maybe I should spend the rest of + the day with you-- as an + objective witness. Just to see + what happens. Okay? + + PHIL + Yeah, sure. That'd be okay. + + CUT TO: + + + + INT. PHIL'S ROOM - NIGHT + + A hat is lying on Phil's bed. A playing card flies past. A + second playing card sails right into the hat. Another playing + card sails past, missing. Another playing card sails right in + Phil and Rita are tossing cards. Rita is missing. Phil is + hitting. + + PHIL + It's not in the wrist so much as + the fingers. Be the hat. + + RITA + It would take me a year to get + good at this. + + PHIL + Uh-uh. Six months. Four, five + hours a day. + + RITA + Is this what you do with + eternity? + + + + -93- + + + + + + PHIL + Now you know. It's like waiting + for a bus that never comes . You + should see me play pool -- and + bowling, juggling, hacky sack. + I can ride a unicycle. + There ' s a knock on the door . + + PHIL + I'll get it! + Phil jumps for the door and opens it. The PIZZA GUY is there. + + PHIL + Hi, Marty. $11.75 including the + delivery charge, right? + + PIZZA GUY + U h hh h -- + Phil pays him, takes the pizza and closes the door. + + RITA + (opening the pizza box) + MMMM. Pepperoni and olives. My + favorite . + + PHIL + Of course. I told you, I know + everything . + + RITA + (taking a bite of + + PIZZA) + I don ' t think I ' d want to know + everything that ' s going to + happen. I like to be surprised. + + PHIL + That's not the worst part. + + RITA + What's the worst part? + + PHIL + The worst part is starting over + everyday. Tomorrow you won't + remember any of this. You'll go + back to treating me like a + complete jerk -- + + RITA + No -- + + PHIL + It's not your fault. I am a + jerk. + + + + -94- + + + + + + RITA + No, you're not. + + PHIL + Okay, I ' m not. It really doesn't + make a lot of difference. I've + killed myself so many times, I + don't even exist anymore. I'm + just completely empty. + + RITA + Or completely clean. + + PHIL + If you're going to be this + positive all the time I may have + to rough you up a little. + + RITA + Wait! Have we done this before? + + PHIL + Which part? + + RITA + You getting me up here, the card + gam e, the pizza-- + + PHIL + No, this is the first time. + + RITA + + (EXCITED) + Well? + + PHIL + Well, what? + + RITA + Well how does it feel to be doing + something completely new? + Phil looks at her with tremendous affection and gratitude. + + PHIL + Good. Really good. + He takes a slice of pizza and starts eating with gusto. + + DISSOLVE TO: + + THE PIZZA BOX - LATER + There's only one slice left. + Phil and Rita are sitting together on the bed, close but not + touching. Soft music is playing on the radio. + + + + -95- + + + + + + RITA + Sometimes I wish I had a thousand + lifetimes. One to be a great + journalist. One to, I don't + know, go back to school, study + art, or auto mechanics. One just + to take care of all the busywork, + you know, pay the bills, get my + car tuned up. One to be the wild + woman of Borneo. One to be + Mother Theresa. Maybe it's not + a curse, Phil. It all just + depends on how you look at it. + Phil stares at her for a long time letting this sink in. Then + he belches really loud. Rita stares at him, then burps + surprisingly loud herself. + + RITA + I want you to know, it's been a + really nice day for me. + + PHIL + Me, too. + + RITA + Maybe, if it's not too boring for + you, we could do it again. + + PHIL + I hope so. + The clock reads 11:59. Rita grabs Phil's hand. He puts his + arm around her. + They look into each others' eyes. Rita gives Phil a reassuring + smile. She squeezes his hand. Their eyes turn to the clock. + 11:;59 turns to 12:00. + Rita looks up at Phil as if expecting some magical event. + + RITA + You're still here! + + PHIL + I know. + + RITA + I thought you were supposed to + disappear-- or I was or + something. + + PHIL + Not 'til six. + + RITA + You rat! + + + + -96- + + + + + She is mad in a playful way. + + PHIL + I never said midnight-- + + RITA + You knew I was waiting for + midnight! + + PHIL + But I never said it. + + RITA + Oh, I can't believe you! + (she slugs him with a + + PILLOW) + I didn't know this was going to + take all night! + + PHIL + Does that mean you're going? + + RITA + No. + Phil takes Rita's hand. She doesn't resist. + + DISSOLVE TO: + + LATER + Rita is now sitting right next to Phil on the bed, her head + resting on his shoulder. She nods off then catches herself. + + RITA + I'm sorry. + + PHIL + It's okay to go to sleep you + know. I promise I won't touch + you-- much. + + RITA + No, it's all right. I'm not + tired. What were you saying? + Her eyes start to close again. + + PHIL + I was saying that the cow was + eventually returned to it's + rightful owner. + + RITA + (drifting off) + Really? + + + + -97- + + + + + + PHIL + That's right. + He looks at her, sees she's truly asleep, and gently maneuvers + her into a comfortable reclining position on the bed. Then he + carefully puts a pillow under her head and settles down next to + her. + + PHIL + What I was going to say was, I + think you're the kindest, + sweetest, prettiest, most + wonderful girl I ever met in my + life. + She starts to stir but he gently kisses her back to sleep. + + PHIL + Shhhh. That's good. + (satisfied she's still + + ASLEEP) + I could never tell you this, but + from the first minute I looked at + you I wanted to just hold you + close and be with you forever. + iEverytime I -saw you around the + station, I thought my heart was + going to explode. I used to + dream about us being together. + In my dream you loved me as much + as I loved you and we didn't have + to say anything but I knew you + understood everything. + She stirs again but he kisses her until she returns to deep + sleep. + + PHIL + I know a guy like me could never + deserve to have someone like you, + but if I did, I swear I would + love you for the rest of my life. + Rita opens her eyes. + + RITA + + (HALF-ASLEEP) + Did you say something? + + PHIL + Good-night, Rita. + He kisses her gently on the forehead. + + RITA + Good-night, Phil. + + + + -98- + + + + C LOSE UP - THE CLOCK + The time changes from 5:59 to 6:00. The radio starts playing. + Phil wakes up alone in bed. He lies there for a moment then + leaps out of bed like a man reborn and heads straight for the + shower. + + CUT TO: + + + + EXT. GOBBLER'S KNOB - DAWN + + Rita and Larry are in the packed press area, beginning to set + up the equipment. + Phil arrives, carrying two cups of coffee. + + PHIL + Rita? + She looks at him without a trace of the rapport they shared the + night before. + + RITA + Oh, hi, Phil. + + PHIL + Thought you might like some-- + He hands her the coffee. + + RITA + Thanks! + + PHIL + Careful, it's hot. Larry? + He hands Larry a cup. + + LARRY + (surprised, mutters) + Yeah, great. + + RITA + We're just setting up. + + PHIL + You know, I bumped into Buster + Greene, he kind of runs this + thing, and he tipped me off that + we might get a better shot over + there. + + RITA + Really? + + + + -99- + + + + PHIL + I mean, maybe we should go for + it. What do you think? + + RITA + Sounds good to me. Larry? + + LARRY + Sure, why not? + + RITA + All right. Thanks, Phil. Good + work. + She reaches for an equipment case. + + PHIL + I'll get that. + Phil helps Larry carry the camera gear. + + PHIL + (to Larry) + You and I never talk, Larry. You + got kids? + Larry looks suspicious. Rita looks on, reevaluating Phil. + + CUT TO: + + + + INT. LIBRARY - DAY + + Phil enters the library, approaches the Librarian. + + PHIL + Where would I find the Philosophy + section? + + LIBRARIAN + Down and to the left, 600's. + Phil walks through the stacks, past the groundhog window. + + CUT TO: + + + + EXT. A HOUSE - DAY + + Phil rings the doorbell. A kindly young woman, MARY, answers + + MARY + Yes? + + PHIL + I ' d like a piano lesson, please. + + + + -100- + + + + MARY + Oh. Okay, I ' m with a student + now, but -- + + PHIL + I'll give you a thousand dollars. + Mary hesitates only a moment, then ushers Phil into the house + and closes the door. + A moment later the door opens and a LITTLE GIRL with an armloa + of music books exits as if pushed. The door closes behind her. + + CUT TO: + + + + INT. HALLWAY - DAWN + + Phil walks happily down the hallway. He passes the chubby man. + + CHUBBY MAN + Morning. + + PHIL + Buon Giorno, signore. + + / '. + + . ' + + � + + - + + : + + CHUBBY MAN + Think it ' 11 be an early Spring? + + PHIL + "Winter slumbering in the open + air wears on his smiling face a + dream of Spring." + + CHUBBY MAN + Oh. + + CUT TO : + + + + INT. MARY'S HOUSE - DAY + + Phil and Mary are sitting together at the piano. Phil is + playing, poorly. + + MARY + Not bad, Mr. Connors. You say + this is your first lesson? + + PHIL + Technically, yes. + Phil plays on, definitely improving. + + CUT TO: + + + + -101- + + + + + + INT. LIBRARY - DAY + + We see several cuts of Phil studying at the library. + SUPERED over these cuts is a calendar with the pages flipping + by. They all read "February 2 . " + + CUT TO: + + + + EXT. GOBBLER'S KNOB - DAWN + + Phil stands in front of the camera, giving his report. + + PHIL + In fact, the groundhog's + legendary ability to predict the + weather may be more than just the + German folklore of the region. + Higher temperatures trigger + hormonal changes in the + testosterone levels of male + groundhogs, which may in fact + wake them from hibernation and + send them out to battle with + other males ;for mating rights. + So, the truth is they're not + looking for their shadows, + they're looking for groundhog + chicks. + Rita looks on, clearly delighted with the report. + + CUT TO: + + + + INT. MARY'S HOUSE - DAY + + Phil is playing the piano with ever increasing skill as more + February 2 calendar pages flip by. + + CUT TO: + + + + EXT. GOBBLER'S KNOB - DAWN + + Phil is delivering another report. + + + + -102- + + + + PHIL + Groundhog Day, February second, + also known as Candlemas Day or + the Feast of the Purification of + the Virgin Mary, the day Mary + first came to the temple for + ritual blessings following the + birth of the infant Jesus, and + celebrated since the Middle Ages + by the sacramental lighting of + candles. Hence the old Scottish + couplet which long predates the + .American groundhog tradition: "If + Candlemas dawns bright and clear, + there'll be two winters in the + year." + Larry whispers an aside to Rita. + + LARRY + Is he making this stuff up? + + RITA + + (RIVETED) + Shhhhh. + + CUT TO: + + + + EXT. CEMETERY - DAY + + Beyond the graveyard is a work shed with various tombstones + scattered about. Old TUCKER, the town stonecarver, is at work + chiseling a name into a gravemarker. + Behind him, Phil is chipping away at a small hunk of marble, + sculpting a very lovely cherub. + Rita sits on a stool eating an apple and sipping hot tea + watching him with amazed interest. + + PHIL + But what if the rules changed? + What if none of your actions had + consequences? + + RITA + There would still be an absolute + morality. There has to be an + absolute good, regardless of the + circumstances. + + PHIL + Oh, is that so, Miss Plato? Then + let me ask you this. Where does + this "absolute good" come from? + From the sky? + + + + -103- + + + Rita shrugs. + + RITA + I don't know. From my freshman + Philosophy course, I guess. + They both laugh. Then she looks at him for a long moment and + grins. + + PHIL + What? + + RITA + Nothing. I just can't believe + you're such a fine sculptor. + Phil takes a bite of her apple and gets up. + + PHIL + I gotta go. + + RITA + Where do you have to go in + Punxsutawney? + + PHIL + I got piano and then drums. + + RITA + Here? + + PHIL + Come on, I'll drop you off. + They exit. + + CUT TO: + + + + EXT. MAIN STREET '��-.. LATER + + Phil drops Rita off and watches as she crosses the street to + Larry who is waiting on the other side. + Across the street, Rita takes a wistful glance toward Phil, + then gets in the news van and drives off. + Phil gets out of the car and starts walking, but finds himself + face to face with Ned Ryerson. + + NED + Phil! Phil Connors! I thought + that was you! + + PHIL + Ned? Ned Ryerson! I don't + believe it. I've missed you so + much. + + + + -104- + + + Phil gives Ned a big hug and keeps holding on for an + uncomfortably long time, actually giving Ned a hickey on the + neck. Ned goes into homophobic shock. + + NED + Uh, I gotta get going. Nice to + see you, Phil. + He hurries off. + + CUT TO: + + + + INT. MARY'S HOUSE - DAY + + Phil is sitting on the piano bench with Mary, playing pretty + well. Mary is astonished. + + MARY + How long have you been studying, + Mr. Connors? + + PHIL + One day. I'm gifted. + + CUT TO: + + + + EXT. STREET - DAY + + Phil is walking down the street. He glances down the alley as + he passes, stops, walks back and enters the alley. The OLD BUM + that Phil never noticed before is lying there, huddled against + a wall. Phil goes to help him. + + PHIL + Hey, mister. Hey. Come on, + let's get you somewhere warm. + The old bum turns to look at Phil, then closes his eyes. + + PHIL + (helps the old man to + his feet) + There you go. + Phil practically carries him out of the alley. + + CUT TO: + + + + INT. HOSPITAL EMERGENCY ROOM - NIGHT + + A nurse approaches Phil. + + NURSE + You the one brought in the old + man? + + + + -105- + + + + PHIL + How is he? + + NURSE + He passed away just now. + Phil pauses for a long moment. + + PHIL + What'd he die of? + + NURSE + + (SHRUGS) + He was just old. It was his + time. + + PHIL + I want to see his chart. Excuse + me. + Phil brushes past her and makes for the big double doors + leading to triage. + + NURSE + Sir, you can't -- + (hurrying after him) + Look! Some people just die! + + PHIL + Not on my watch. + + CUT TO: + + + + INT. DINER - MORNING + + Phil is propping up the old man at a table, trying to feed him + hot soup. + + CUT TO: + + + + INT. HOSPITAL - DAY + + Phil is furiously looking over X-rays, flipping through medical + journals and making notes. + + CUT TO: + + + + EXT. ALLEY - NIGHT + + Phil is in the alley, shaking the old man, trying to rouse him. + + PHIL + Come on . Hang on . Hang on , + there . Breathe . + + + + -106- + + + Phil stops. The body lies, unmoving. Phil sits back, + breathing heavily. + + CUT TO: + + + + EXT. GOBBLER'S KNOB - DAWN + + Phil is delivering his report. Everyone there is silent and + listening to Phil. Even the other reporters have turned their + cameras on him. + + PHIL + ...When Chekhov saw the long + winter, it was a winter bleak and + dark and bereft of hope; and yet, + we know winter's only one more + step in the cycle. And standing + among the people of Punxsutawney -- + (Phil looks directly at + + RITA) + -- basking in the warmth of their + hearths and hearts, I couldn't + imagine a better fate than a long + and lustrous winter. + Phil smiles. Rita smiles, too. + + PHIL + For Channel 9 news, I ' m Phil + Connors. + There is much applause. Even Larry brushes away a tear. + Phil hands the microphone to Rita. + + RITA + + PHIL-- + + PHIL + Sorry. I'm gonna be late. + Phil rushes off. + + RITA + Late for what? Phil? + (To Larry) + Could you break it down and wrap + out of here by yourself, Larry? + + LARRY + Sure . + + RITA + Thanks . + + + + -107- + + + Rita rushes off after Phil. + + CUT TO: + + + + EXT. STREET CORNER - DAY + + Phil walks briskly toward an intersection, glancing nervously + at his watch. Rita follows him at a distance, hurrying to keep + up. + MARIE, a little nine-year-old girl, approaches the intersection + shielding her brand new puppy under her winter coat. She isn't + paying attention to traffic and fails to notice a big truck + bearing down on her. + As she steps off the curb, Phil arrives and, with split-second + timing, nonchalantly but firmly grabs her coat to hold her + back, just as the big truck rushes past in the street, narrowly + missing her. + + PHIL + Hey! Did you forget to look both + ways? You didn't even look one + way. + + MARIE + My doggie was cold. + + PHIL + Yeah, well, my doggies are + freezing, but I ' m still gonna + watch out for cars. See you + around, kid. + Phil looks at his watch and rushes off. + Rita looks on amazed and follows him at a distance. + + CUT TO: + + + + INT. BERGHOF RESTAURANT - DAY + + Phil enters the crowded restaurant and pushes past all the + people waiting to be seated. He walks casually but quickly and + purposefully around the tables, squeezing past busy waitresses + and seated patrons toward a commotion in the back of the + restaurant. + TWO BUSINESSMEN are leaning over a THIRD. + + BUSINESSMAN + Oh, my God! He's having a heart + attack! + + SECOND BUSINESSMAN + Lay him down! + + + + -108- + + + + BUSINESSMAN + What do I do? He's not + + BREATHING1 + + SECOND BUSINESSMAN + He's turning blue! Help! + Phil walks straight up to the BLUE-FACED MAN, grabs him from + behind, gets him in the Heimlich grip and squeezes sharply. + A bolus of food flies across the room. The victim coughs and + sputters, then starts breathing again. + + FIRST BUSINESSMAN + Jerry, you okay? + + SECOND BUSINESSMAN + I think that did it. + Phil lets go of the grateful victim. + + PHIL + If you're going to eat steak, get + better teeth, will you? Enjoy + the rest of your lunch, gents. + He exits. + + JERRY + Wow. Who was that guy? + Phil gets to the door and finds Rita standing there, looking at + him in awe. + + PHIL + Rita! + + .RITA + + (CONFRONTING) + -Okay, hold it right there. I + want to know what' s going on and + I want to know right now. + + PHIL + I'm sorry, I'm really pressed + right now. Meet me outside the + hospital about 5:00 and we'll + talk about it. + + RITA + The hospital? + Phil looks at his watch and rushes away. + + PHIL + Try the curlycue fries. Killer. + + CUT TO: + + + + -109- + + + + INT. HOSPITAL CORRIDOR - LATER + + A gurney bursts through the double doors, paramedics and nurses + in attendance. The patient is a teenage girl, JANEY, totally + unconscious. + + + + INT. EMERGENCY ROOM - CONTINUOUS + + The gurney is wheeled into the surgery. + + NURSE + Looks like insulin shock. She's + probably diabetic. + Phil enters wearing a doctor's scrub suit and begins barking + orders. + + PHIL + She's not diabetic. It's an + overdose. Let's get her up here + and pump her stomach, then I want + a complete blood work-up, STAT. + + NURSE + R i g h t , Doctor--uh-- + She realizes she's never seen him before. + + PHIL + Call me Phil. + + NURSE + Phil. Like the groundhog? + + PHIL + Exactly. + + CUT TO: + + + + INT. CHILDREN'S WARD - LATE AFTERNOON + + Sick CHILDREN in hospital gowns are gathered around Phil, + laughing and squealing. Phil is. making balloon animals. + + KID + Make a giraffe! + + PHIL + A giraffe? Let's see. It's just + like a dog with a biiiiig-- what + was it? + + ALL THE KIDS + Neck! + + + + -110- + + + + PHIL + A big tail? Okay, a big tail. + + KIDS + Neck! A big neck! + Phil makes an animal really quickly. + Rita watches from the doorway, unseen by Phil. + + PHIL + There. A dog with long legs. + + KIDS + Nooo ! Long neck ! + + PHIL + Oh! Right! A dog with a big + head. + + KIDS + Noooo! + The kids attack Phil. Lots of rolling around on the bed. Rita + watches, completely enthralled. + Finally, Phil extricates himself and exits to find Rita + waiting. + + RITA + All right, now what's going on? + + PHIL + (taking her arm) + Come on. We have to hurry. + + CUT TO: + + + + EXT . RESIDENTIAL STREET - A LITTLE LATER + Phil rushes down the sidewalk with Rita close behind him. He + stops under a tree and puts his arms out just as a YOUNG BOY + falls out of the tree and into his arms, knocking him to the + ground. The kid runs off unhurt as Phil gets back to his feet + and brushes himself off. + + PHIL + (to Rita) + That little bastard has never + thanked me once . I ought to j ust + let him fall. Teach him a + lesson. + + RITA + Phil, this is too -- I must be + dreaming. + + + + -1 1- + + 1 + + + + PHIL + Yeah, you and me both. Come on, + We're almost done. + + CUT TO: + + + + EXT. ALLEY - NIGHT + + Phil kneels on the cold ground beside the old bum who lies + huddled against the wall, immobile. + Rita is standing by at the end of the alley, watching as Phil + examines him. + Phil writes something down on a small pad. He finishes, and + sets it down by the old man. Then he takes his coat and uses + it to cover the man up. A siren is heard. + Phil stands and walks away, as an ambulance pulls into the + alley. + + RITA + Is he -- ? + + . 'PHIL + Yeah. Let's go. + + RITA + In a minute. + She waits and watches. + The paramedics, BUD and ANDY, get out of the ambulance and + inspect the scene. + + BUD + It's ol1 Really. + + ANDY + That's a shame. + + BUD + Look here . + Bud picks up the note Phil left. + Rita steps closer. + + RITA + May I see that? + (reading aloud) + "Every night, by cold bricks + + GLOW + I watch the shadow rising + from this old man in the snow. + At 8:02 we let it go." + + + + -112- + + + + ANDY + + (REPEATING) + "At 8:02 we let it go." + + BUD + Wow, that's nice. + Rita hands him the note and quickly walks away. + + ANDY + Suppose he wrote it? + + BUD + + (DOUBTFUL) + Are you kidding? + + CUT TO: + + + + EXT. MAIN STREET - NIGHT + + Rita catches up with Phil outside the Pennsylvanian, the town's + oldest and best hotel. + + RITA + Now what? + + PHIL + Come on. You'll see. + They enter. + + CUT TO : + + + + INT. HOTEL LOBBY - CONTINUOUS + + As Phil and Rita enter there is music coming from a side room. + The black velvet announcement board proclaims: KLEISER-SCOTT + + WEDDING. + + CUT TO: + + + + INT. PARTY ROOM - CONTINUOUS + + Phil and Rita walk into a banquet room decorated with + streamers, balloons and flowers. There is a long buffet table + and a punch bowl. Another long table is loaded with wedding + gifts. A small band is playing. + People are dancing. The wedding party is dressed in rented + tuxedos and appropriately pouffy bridesmaid dresses. + + RITA + This is incredible. Who's + wedding is this? + + + + -113- + + + Phil grabs two glasses of champagne and hands one to Rita. + + PHIL + Just some friends. Dorisi + The bride, DORIS, young and cheery, is on her way to see Phil. + She is dragging FRED, her groom, with her. + + DORIS + Hi, Mr. Connors! Come ON, + Freddy. + + FRED + Hi. + + DORIS + This is the guy I told you about. + + FRED + No way! + + PHIL + How's it going, Fred? + + FRED + Hey, I ' d like to thank you for + making Doris go through with + this. + + PHIL + Are you kidding? Don't buy that + playing hard to get stuff. She's + crazy about you, you stud. + + DORIS + I ' m really glad you could come. + + PHIL + Congratulations. + Phil reaches into his pocket, pulls out two tickets and hands + them to Doris. + + DORIS + What is this? Oh, no way! No + way! Ahhh! + Doris throws herself on Fred and jumps up and down. Fred grabs + the tickets. + + FRED + Wrestlemania! No way! No way! + Doris throws herself on Phil. + + DORIS + How did you know? + + + + -114- + + + + FRED + We're like going to be in + Pittsburgh anyway. + + PHIL + I don't know. I just thought + about you two, tried to picture + what you ' d want more than + anything in the world and it came + to me. Bing! Wrestlemania. + + FRED + Thanks, Mr. Connors. You're a + real pal. + + DORIS + This is the best! + Doris gives Phil a kiss. She and Fred move on. + + RITA + I don ' t understand . You rush + from one person to the next in a + town you only visit once a year, + you know everything before it + happens , and you -- - I don ' t know , + you seem to be Punxsutawney ' s + leading citizen. + The band finishes a set. The guests stop dancing and head for + the refreshments. Phil and Rita are left alone for the moment + + PHIL + What do you want to know? + + RITA + Who are you? + + PHIL + I really don't know. + + RITA + No, there's something going on + with you. + + PHIL + Okay, I wake up in Punxsutawney + on February second -- every day. + It's supernatural. I don't even + try to explain it anymore. So, + I live each day as if it's the + only day I've got. + Rita stares into his eyes for a very long time, but sees only + good, true things. + + RITA + That's pretty amazing. " + + + + -115- + + + + PHIL + You want to know what's really + amazing? I've been waiting for + you every day for ten thousand + years. I dream of you every + night of my life. You've been my + constant weapon against total + despair, and just knowing you + exist has kept me alive. How's + that? + Rita can't even speak. This is clearly the nicest thing + anybody has ever said to anybody. + Mary the piano teacher notices Phil. + + MARY + Phil! + (to her friend) + This is the guy. + + PHIL + Hello, Mary. Rita, this is one + of Punxsey's finest musicians. + + �MARY + Give me a break. You should + talk. Why don't you play + something? + + PHIL + N o , I-- + + MARY + Please. + + FRED + Hey, Mr. Connors. Go for it. + Phil looks at Rita. She nods and shrugs. + Phil walks up to the platform and sits at the piano. He begins + to play a slow, serious, classical piece. Everyone falls + silent. It's so beautiful, Rita is almost in tears. + Then, after a pause to let the serious notes sink in, Phil + transforms the piece into a fast, lively, upbeat jazz romp. + Everyone is delighted, and as the rest of the band kicks in, + everyone grabs a partner and begins to dance. + An old coot, UNCLE LEO, grabs Rita and the two of them dance up + a storm. + + LEO + That's a great guy you've got + there. Doctor Connors fixed my + back, you know. + + + + - -116- + + + + + + RITA + Do ctor Connors? + + + Rit a looks over at Phil, joyously playing the piano. + + + + CUT TO: + + + + + + EXT . STREET - NIGHT + + + It is snowing lightly. Phil and Rita are walking slowly, arm + in arm, close. They stop and embrace. Phil looks at Rita. + She looks like an angel. + + + + PHIL + Wait! Don't move! + + + Phil scoops up some snow and begins packing it down, furiously, + joyously, then rolling it into a large ball. + + + + RITA + Making a snow man? I'll help. + + + + PHIL + No, stay there. Stand right + th ere. + + + Ph il lifts the now larger chunk of packed snow and sets it on + a mailbox. Then he looks at her, and starts to sculpt it. + + + + DISSOLVE TO: + + + + LATER + + + Phil is using a stick and the heat of his bare hands to model + a delicate fold in the snow sculpture. Several bystanders look + o n with interest as Phil stands back from his work. + + + + RITA + Can I look? + + + + PHIL + O kay, look. + + + It is an excellent likeness of Rita, the snow white as + alabaster, pure as marble, a beautiful and delicate homage. + + + + RITA + + (OVERWHELMED) + Nobody's ever done this for me. + Not even a drawing. It's + beautiful. + + + + -117- + + + + PHIL + This is how I see you. When it + all gets too much, I just close + my eyes and there you are-- just + like this. Take it home and keep + it in the freezer. + Rita embraces Phil. They are about to kiss, looking deep into + each others eyes. + + PHIL + This one's for the Frog Prince. + + RITA + What? + + PHIL + Nothing. + They kiss-- a long, deep, soul-stirring kiss. + + PHIL + Will you come with me? + Rita nods. They continue standing there, embracing, warming + each other in the cold night air. + + RITA + (looks back at the ice + + SCULPTURE) + We're just going to leave her? + + PHIL + It doesn't matter. Really, it + doesn't. + They kiss again. + + CUT TO: + + CLOSE UP - THE CLOCK + The digital clock-radio changes from 5:59 to 6:00. Silence. + No Sonny and Cher, no deejays-- nothing. + Phil sits up in bed. He looks around the room. Things are + different, messier. Then he sees the covers move. Wide-eyed + now, he looks over and sees Rita waking up, snuggling deep + under the covers. + + PHIL + + (DISBELIEVING) + It's not true. It's not. It + can't be true. Rita? Rita! + + + + -118- + + + + RITA + + (STRETCHING + + LUXURIOUSLY) + Mmmm. Morning. + Phil pounces on Rita, showering her with kisses. + + PHIL + You're here! My god! I can't + believe you're here! + + RITA + Glad to see you, too. + + PHIL + No! It's happened. Don't you + get it? It's tomorrow! It's -- + Phil turns on the radio. + + DEEJAY + . . . still shoveling put the + highways, but if you're walking, + it's a beautiful day. + + S IDEKICK + Yeah, the snow kind of cleaned + e ve r yt h in g up-- + + DEEJAY + --except your mouth. + Phil kisses the radio. + + PHIL + I love those guys. + + RITA + Are you always this jolly in the + morning? + Phil runs to the window and looks out. + + HIS POV - THE STREET + The street ;is virtually empty, the town just waking up. Kids + are throwing snowballs. + + PHIL + No groundhog! Rita! They're all + gone! + + RITA + You must've had some dream. + Phil stops, thinks. + + + + -1 1 9 - + + + + PHIL + Did I just dream it? + Phil opens the door and runs into the hallway wearing only + pajama bottoms. + + RITA + Phi l? Phil! + Rita sits up in bed and waits. Suddenly, from somewhere else + in the inn comes the sound of Phil at the piano expertly + playing a difficult classical piece. He stops after a few + bars. + + PHIL (O.C.) + Yeah!!!! + Phil runs back into the room. + + PHIL + It really happened! You're + really here! + He pounces on Rita again. + + PHIL + You're really actually here. + + RITA + + (LAUGHING) + I'm here, I'm here! + They kiss, passionately, hungrily. + + PHIL + Let's go! + He scoops her up in his arms. + + RITA + Where're we going? + + PHIL + Anywhere! Everywhere! + + CUT TO: + + + + INT. BREAKFAST ROOM - LATER + + Phil and Rita, dressed now, enter and encounter Mrs. Lancaster + Phil hugs her. + + MRS. LANCASTER + Oh, my! + + + + -120- + + + + PHIL + Florence! Say hello to Rita. + She loves me. + + MRS. LANCASTER + I'm not surprised. + He kisses her on the cheek and rushes out with Rita. + + + + EXT. THE STREET - DAY + + Phil and Rita walk down Main Street hand in hand. + + A MAN + Phil! Good morning! + + A LADY + Mr. Connors. I wanted to thank + you. + + PHIL + That's all right. I-- + A FLORIST steps out of the flower shop with a bouquet. + + FLORIST + Phil, here. I want you to have + these. + + PHIL + Thanks, Carl. + Phil smells the flowers, and hands the bouquet to Rita. + + PHIL (V.O.) + And so began my final lifetime, + and ended the longest winter on + record. I would find myself no + longer able to affect the chain + of events in this town, but I did + learn something about time. You + can waste time, you can kill + time, you can do time, but if you + use it wisely, there's never + enough of it. So you'd better + make the most of the time you've + got. + A car skids on the ice and smashes into a tree. Phil and Rita + rush over to help, but the driver waves that he's okay. Rita + and Phil continue their walk. + + + + -121- + + + + PHIL (V.O.) + Larry never got through the + blizzard, so none of my groundhog + reports ever made it on the air. + But Rita and I-- we lived happily + ever after. + Phil and Rita walk off together. + Across the street, Larry is trying to get rid of Ned Ryerson + who is doggedly trying to sell him insurance. + + NED + But Phil told me you were his + accountant! + + LARRY + Look, I told you! He's nuts! + Larry keeps trying to walk away, but Ned won't leave him alone. + + NED + Let me just tell you about single + premium life-- + Finally, Larry slugs Ned and storms off, leaving Ned + floundering in a snowbank. + Phil and Rita walk on as we pull up and away from Main Street + revealing the whole of Punxsutawney and the snowy countryside + that embraces it. + + THE END \ No newline at end of file